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PIANOS 

AND    •   T  H  E  I  R   •   M  A  K  E  R  S 


Weber  Pianola  Grand 


PIANOS 


AND     THEIR      MAKERS 


By  Alfred  Dolge 


A  COMPREHENSIVE  HISTORY  OF  THE 

DEVELOPMENT   OF   THE   PIANO   FROM 

THE    MONOCHORD    TO    THE    CONCERT 

GRAND  PLAYER  PIANO 


m^lh 


|Vi         Ml 


300  Elustrations 


CO  VINA    PUBLISHING    COMPANY 

COVINA.  CALIFORNIA 

1911 


^Jc;^^ 


Copyright  1911,  by 
ALFRED   DOLGE 

All  EighU  Reserved 


THE    QUINN    i    BOOEN     CO.     PRESS 
RAMWAY,    N.   J. 


''  I  hold  every  man  a  debtor  to  his  jn-ofes- 
sion;  from  the  which  as  men  of  course  do 
seek  to  receive  countenance  and  profit,  so 
ought  they  of  duty  endeavor  themselves  by 
way  of  amends  to  be  a  help  and  ornament 
thereto." 

Francis  Bacon. 


i^^aBega2ffiSgaSrefe3;^;ga»vy^>M». 


Sebastiax   Erard 


After  Original  Oil  Painting  bj-  David 
Through  Courtesy  of  Mons.  A.  Blonde! 


FOREWORD 

IX  describing-  tlie  origin  and  development  of  the  pianoforte, 
notice  has  been  taken  only  of  such  efforts  and  inventions  as 
lent  themselves  to  evolution,  or  have  stood  the  test  of  time. 
Therefore  no  mention  is  made  of  mere  freak  instruments,  ancient 
or  modern,  nor  of  the  many  fruitless  efforts  of  inventors  whose 
aim  seemed  to  be  merely  to  produce  "  something  different,"  either 
for  commercial  reasons  or  to  satisfy  the  cravings  of  their  own 
imagined  genius. 

Great  pains  have  been  taken,  however,  to  give  full  credit  to  those 
who  successfully  developed  ideas  which  in  their  original  crudeness 
seemed  impracticable.  It  often  happens,  as  in  the  case  of  the 
"  overstrung  system,"  that  an  idea  is  born,  tried,  discarded,  lies 
dormant  for  generations,  before  the  genius  appears  who  can 
render  it  adaptable  for  practical  use. 

It  is  to  be  regretted  that  we  are  still  without  guiding  laws  for 
the  construction  of  the  pianoforte,  but  the  thinking  piano  maker 
of  the  present  has  the  great  advantage  of  past  experiments  from 
which  to  learn  uJuit  not  to  do  in  his  efforts  to  improve  the  piano. 

The  curiosity  hunter,  and  student  who  desires  more  detailed 
information  regarding  past  experiments  in  piano  construction, 
will  find  entertaining  and  instructive  reading  in  the  various  publi- 
cations on  the  i)ianoforte  enumerated  elsewhere. 

Great  confusion  exists  among  the  various  writers  on  the  i)iano- 
forte  regarding  the  names  of  the  older  keyed  instruments. 
Clavicytherium,  Clavichord,  Spinet,  Virginal,  and  Harpsichord 
are  often  confounded  with  one  another,  and  some  writers  use 
"  Clavier  "  for  all  these  instruments. 

7 


8  FOREWORD 

In  order  to  secure  accuracy,  I  followed  the  development  chrono- 
logically, as  the  most  trustworthy  authorities  record  it,  aiming 
always  to  give  a  clear  description  in  as  few  words  as  possible, 
because  this  work  is  written  for  those  who  desire  to  know,  and 
who  do  not  care  merely  to  be  entertained. 

Being  limited  in  scope  to  past  events,  the  author  regrets  espe- 
cially that  no  particular  mention  could  be  made  of  the  valuable 
labors  of  Henry  Ziegler,  Frank  J.  Conover,  Richard  W.  Gertz, 
Paul  G.  Melilin  and  otliers,  who  are  earnestly  engaged  in  improv- 
ing the  heritage  left  us  by  the  masters  of  the  past. 

In  submitting  this  volume  to  the  reader,  the  author  desires  to 
express  his  thanks  to  Messrs.  Theodore  C.  Steinway,  William  E. 
Wheelock,  Melville  Clark,  J.  H.  White,  George  B.  Kelly,  Ludwig 
Bosendorfer,  Josef  Herrburger,  Jr.,  Siegfried  Hansing,  Paul 
de  Wit  and  Morris  Steinert,  for  their  kind  and  valuable  assistance, 
without  which  the  work  would  lack  mueli  important  data. 


CoviNA,  Califoknia, 
April,  1911. 


CONTENTS 

PART   ONE 

Technical  Development  of  the  Pianoforte 

CHAPTER  I 

The  Monochord,  Pvtliagoras,  Guiclo  of  Arezzo,  the  Chinese 
Ke       .        .       ' 

The  Clavicytherium,  Italy  and  Germany 

The  Clavichord,  Daniel  Faber,  Bach,  Mozart,  Beethoven 

The  Spinet,  Giovanni  Spinnetti 

The  Harpsichord  and  its  development    .... 


The  Square  Piano,  Znmpe,  Broadwood,  Erard,  Behrond,  Al- 
brecht,  Crehore,  Osborn,  Babcock,  Chickering,  Steinway 
Mathushek 

The  Upright  Piano,  Schmidt,  Hawkins,  Loud,  Southwell 
Wornum,  Pleyel 

The  Grand  Piano,  Geronimo,  Still,  Stodart,  Broadwood 
Erard,  Stein,  Nannette  Stein-Streicher,  Loud,  Jardine 
Chickering,  Steinway,  Bosendorfer,  Kaps 

9 


PAOE 

29 

32 
34 


CHAPTER  II 

The  Pianoforte,  Christofori,  Marius,  Schroter,  Silbermanu, 
Backers,  Stein,  German,  Austrian  and  English  Schools, 
Friederici 41 


48 
53 

57 


10  CONTENTS 

PAGE 

CHAPTER  III 

The  Full  Iron  Feame,  Hawkins,  Allen  and  Thorn,  Babcock, 

Chickering,  Erard,  Broadwood,  Hoxa,  Steinway    .        .      69 

The  Keyboaed,  Guido  of  Arezzo,  Zarlina,  Kirkman,  Krause, 
Chromatic  Keyboard,  Neuhaus,  Cludsam,  Paul  von 
Janko,  Perziua .77 

The  Action,  Schroter,  Christofori,  Silbermann,  Stein, 
Streicher,  Zunipe,  Backers,  Erard,  Friederici,  Wornum, 
Pleyel,  Pape 83 

The  Hammer,  Christofori,  Silbermann,  Pape,  Wilke,  Kreter, 

Mathushek,  Collins,  Dolge,  Ammon,  Steinway  ...      97 

The  Soundboard,  Chladni,  Tyndall,  Helmholtz,  Hansing,  Dr. 

Paul,  Pape,  Mathushek 106 


CHAPTER  IV 

The  Supply  Industries,  Lumber  (old  and  new  methods  of 

seasoning),  Felt,  Wire,  Actions 115 

Felt    Making,    Pape,    Whitehead,    Naish,    Billon,    Fortin, 

Weickert,  Dolge 120 

Piano  Wire,  Fuchs,  Webster  &  Horsfall,  Miller,  Poehlmann, 

Washburn  &  Moen,  Houghton,  Smith,  World's  Fair  Tests     123 

Actions,  Brooks,  Isermann,  Gehrling,  Herrburger-Schwan- 
der,  Morgenstern  &  Kotrade,  Lexow,  Langer  &  Com- 
pany, Fritz  &  Meyer,  Keller,  Seaverns    ....     126 


CHAPTER  V 

Development  of  the  Player  Piano,  Morse,  Vaucanson, 
Seytre,  Bain,  Pape,  Fourneaux,  McTammany,  Gaily, 
Bishop  &  Downe,  Kuster,  Paine,  Parker,  White,  Brown, 
Votey,  Goolmann,  Hobart,  Clark,  Kelly,  Klugh, 
Welin,  Hupfeld,  Welte,  Young,  Crooks,  Dickinson, 
Danquard 131 


CONTEXTS  11 

PART   TWO 

Commercial  Development  of  the  Piano  Industry 
CHAPTER  I 


PAGE 


Italy,  Cliristofori,  Fischer,  Sievers,  Roseler,  ]^Iola  .        .        .     166 

Germany,  Silbermann,  Stein,  Xannette  Stein,  Streiclier, 
Sc'liiedmayer.  ibaeh,  Ritmiiller,  Rosenkrantz,  Irmlcr, 
Bliithner 107 

France,  Erard,  Pleyel,  Herz,  Gaveau,  Bord    ....     171 

England,   Tslmdi,    Broadwood,   Kirkman,    Zumpe,    Collard, 

Brinsmead,   Hopkinson 172 

America,  Cliickoring,  MacKay,  X'unns  &  Clark,  Gil])ei-t,  Stein- 
way     ...........     171 

CHAPTER  II 

The  Commercl\l  Piano,  Joseph  P.  Hale 179 

The  Stencil,  Department  Stores,  Consolidations  .         .         .     182 

CHAPTER  III 

The  Art  Piano,  Trasunti,  Hans  Ruckers,  Shudi,  Broadwood. 
Alma  Tadcma,  Steinway,  Marquandt,  Sir  Edward  Poi/n- 
ter,  Centennial  Grand  at  the  White  House,  Denning, 
Bosendorfer,  Empress  Elizabeth,  Ibaeh 's  Jubilee  Grand, 
Baldwin,  Barnhorn,  Guest,  Bliithner,  Erard,  Pleyel,  Lyon 
&  Co.,  Chickering  Louis  XIV,  Everett  Sheraton  Grand, 
Samuel  Ilayuard,  Knabe  "  Xouveau  Art  "  Grand, 
"Weber  Louis  XIV  Grand 187 

The  Pedal  Piano,  Sehcine,  Schumann,  Mendelssohn,  Plevel. 

Erard,  Pfeiffer,  Henry  F.  Miller     .         .         .         .   '     .     PJl 

The  Player  Piano .194 

CHAPTER  IV 

Export,  Steinway,  Aeolian 199 

Methods  of  Marketing,  The  Agencv  Svstem       .         .         .     200 


12  CONTENTS 

CHAPTER  V 

PAGE 

The  Trust  Movements  of  1892,  1897  and  1899.     Plan,  Scope, 

Cause  of  Failure 205 


PART  THREE 

Men  Who  Have  Made  Piano  History 

CHAPTER  I 

Italy,  Gnido  of  Arezzo,   Spinnetti,  Geronimo,   Cliristofori, 

Fischer,  Sievers,  Roseler,  Mola 215 

Germany,  Silbermann,  Stein,  Nannette  Stein,  Streiclier, 
Bosendorfer,  Seuffert,  Ehrbar,  Schweighofer,  Heitz- 
mann,  Ibacli,  Ritmiiller,  Rosenkrantz,  Irmler,  Scliied- 
mayer,  Kaim  &  Giintlier,  Dorner,  Lipp,  Wagner,  Pfeiffer 
Roiilfing,  Knake,  Adam,  Heyl,  Vogel,  Lindner,  Meyer 
Mand,  Gebaulir,  Thiirmer,  Steinweg,  Grotrian,  Zeitter  & 
Winkelmann,  Bnschmann,  Rachals,  Scheel,  Bliithner 
Roniscb,  Fenricli,  Isermann,  Weickert,  Poehlmann  . 

England,  Sliudi,  Broadwood,  Collard,  Challen,  Hopkinson 
Brinsmead,  Eavestaff,  Squire,  Grover,  Barnett,  Poehl- 
mann, Strohmenger,  Witton,  Brooks         ....     242 


217 


CHAPTER  II 

France,  Erard,  Pleyel,  Kalkbrenner,  Wolff,  Lyon,  Herz, 
Pape,  Kriegelstein,  Gaveau,  Bord,  Schwander,  Herr- 
burger  . 251 

Spain,  Estela,  Guarra,  Chassaign,  Montana    .         .         .         .262 

Belgium,  Berden,   Van  Hyfte,  Vits,   Boone  Fils,    Gevaert, 

Giinther,   Oor 263 

Netherlands,  Allgauer,  Cuijpers,  Rijken  and  de  Lange  .         .  263 

Scandinavia,  Hornung  &  MoUer,  Ekstrem,  Malmsjoe,  Hals    .  263 

Russia,  Diederichs,  Schroder,  Becker 264 

Japan,  Torakusu  Yamaba,  Nishikawa  &  Son   ....  265 


CONTENTS  13 

CHAPTER  III 

PAGE 

America,  Creliore,  Osborn,  Babcock,  MacKay,  Stewart,  Chick- 
ering,  Bacon  &  Raven,  James  A.  Gray,  William  Bourne, 
McPhail,  Lindeman,  Scliomacker,  Knabe,  Steinway, 
Hazeltou,  Fischer,  Stieff,  Weber,  Steck,  Kimball,  Cable, 
Wulsin,  Starr,  Healy,  Wurlitzer,  Estey,  Wliite,  Packard, 
Votey,   Clark      .      ' 269 

PART   FOUR 

Influence  of  Piano  Virtuosos  Upon  the  Industry 

CHAPTER  I 

Bach,  Mozart,  Chopin,  Liszt,  Rubinstein,  Biilow,  Joseffy, 
Hofmann,  Rosenthal,  Carreno,  de  Pachmann,  Busoni, 
Paderewski  . 385 

CHAPTER  II 
Testimonials  and  Their  Value 397 

PART   FIVE 

CHAPTER  I 

National    Associations    of    Manufacturers    and    Dealers    in 

Europe  and  America 405 

CHAPTER  II 
The  Trade  Press — Its  Value  to  the  Industry   ....    415 

CHAPTER  III 
Literature  on  the  Pianoforte 423 

CHAPTER  IV 
Conclusions 433 

APPENDIX 

List  of  Firms  Manufacturing  Pianos  and  Supplies  at  the 

Present  Time •4-43 


ILLUSTRATIONS 


Weber  Pianola  Grand Frontispiece 

Sebastian  Erard Insert        7 


Actions 

Backers '  Hammer  Action,  1776  . 
Brinsmead  Upright  Action 
Broadwood  LTpriglit  Action 
Christofori's  Hammer  Action,  1707  . 
Christofori's  Hammer  Action,  1720  . 
English  Sticker  Upright  Action,  1820 
Erard  Grand  Action,  1821  . 
Erard-Herz  Grand  Action,  1850 
Erard 's  Eepetition  Grand  Action,  1821 
Friederici's  Upright  Action,  1745     . 
Herrburger-Schwander  Grand  Action,  Paris 
Herrburger-Schwander  Upright  Action 
Keller's  Grand  Action,  Stuttgart,  1909 
Langer  Grand  Action,  Berlin,  1909  . 
Langer  Upright  Action 
Loud's  Downward  Striking  Action  for  Square 

Pianos,  1827 

Marius'  Downward  Striking  Hammer  Action 
Marius'  Upward  Striking  Hammer  Action 
Modern  American  Upright  Action  . 
Schroter  Downward  Striking  Hammer  Action,  1 
Schroter  Upward  Striking  Action,  1717  . 
Seaverns  Upright  Action  .... 
Siegfried  Hansing's  Grand  Action,  1898 
Silbermann's  Hammer  Action,  1728 
Stein-Streicher's  (Nannette)   Grand  Action, 
Stein's  (Johann  Andreas)  xVction,  1780  . 
Stein's  Hammer  Action     .... 
Steinway  Grand  Action,  1884     . 

15 


1780 


or  G 


17 


rand 


46 
94 
94 
44 
44 
92 
88 
89 
60 
92 
91 
95 
90 
90 
95 

84 
41 
42 
94 
43 
43 
96 
91 
44 
59 
S6 
47 
89 


16 


ILLUSTRATIONS 


Actions.     Continued 

Steinway's  Tubular  Metallic  Action  Frame,  1866 
Streicher's  (Joliann  Baptist)  Action,  1824  . 
Wessell,  Nickel  k  Gross'  Grand  Action,  1890 
AVessell,  Nickel  &  Gross'  Upright  Action 
Wornum's  Upright  Action,  1826 
Zumpe's  Hammer  Action,  1760-65    . 


PAGE 

.  85 

.  87 

.  90 

.  96 

54,  93 

.  46 


Baldwin  Grand  Case  with  Acoustic  Eim 

Capo  Tasto 

Clavichord,  16th  Century 
Clavichord,  17th  Century 
Clavicytherium,  14th  Century 
De  Wit  Tuning  the  Clavichord,  Paul  . 
Dulcimer 


.       .       .  64 

.  61 

.  30 

.  31 

.  29 

Insert     427-428 

.  43 


Halls 

Chickering  Hall,  New  York 
Gewandhaus  (Old),  Leipsic 
Gewandhaus  Saal  (Old),  Leipsic 
Gewandhaus  (New),  Leipsic 
Gewandhaus  Saal  (New),  Leipsic 
Saal  Bliithner,  Berlin  . 
Saal  Bosendorfer,  Vienna 
Salle  Erard,  Paris 
Salle  Pleyel,  Paris 
Steinway  Hall,  New  York 


Insert  391 

Insert  386 

Insert  387 

Insert  388 

Insert  389 

Insert  400 

Insert  401 

Insert  398 

Insert  399 

Insert  390 


Hammers 


Ammon  Hammer 

Ammon-Dolge  Hammer       .... 

Christofori  Hammer 

Hammers  Covered  with  Leather 
Hammers  Covered  with  Leather  and  Felt 
Machine-covered  Felt  Hammer,  1871 
Molding  for  Ammon-Dolge  Hammer 
Single  Coat  Felt  Hammer  for  Grand  Pianos 
Single  Coat  Felt  Hammer  for  Upright  Pianos 
Steinway  Saturated  Hammer     .... 


104 

105 

97 

97 

98 

99 

105 

102 

102 

105 


ILLUSTRATIONS 


17 


Hammers.     Continued  page 
Dolge-Gardener  Compressed  Air  Hammer-Covering  Ma- 
chine, 1910 103 

Dolge  Hammer-Covering  Machine,  1887         .        .       .    100,  101 

Harp,  Lyon  &  Healy       .        .        .        .       .       .        .      Insert    352 

Harpsichord,  1521 35 

Harpsichord,  1531,  Alessandro  Trasunti's  Art  .  .  Insert  190 
Harpsichord  with  Double  Keyboard,  End  of  16th  Century  .  36 
Harpsichord,  Middle  of  17th  Century .37 


Iron  Frames 
Allen  and  Thorn's  Grand  Bracing  System,  1820  . 

Babcock's  Full  Iron  Frame,  1825 

Baldwin  Upright  Iron  Frame,  1910 

Broadwood  &  Sons'  Earless  Grand  Steel  Frame,  J 910 
Broadwood  &  Sons'  Earless  Upright  Steel  Frame,  1910 
Chickering's  Full  Iron  Frame,  1837 
Chickering  Grand  Iron  Frame,  1843 
Conover  Eros.'  I^pright  Iron  Frame,  1885 
Erard's  First  Iron  Ear  Grand  Piano,  1823 
Grotrian's  Grand  Iron  Frame,  1910 
Mason  &:  Hamlin  Grand  Iron  Frame,  1910 
Steinway's  Full  Iron  Frame,  with  Overstrung  Scale,  1855 
Steinway's  Grand  Iron  Frame,  1859       .... 
Steinway  &:  Sons'  Grand  Iron  Frame,  1875 — Front  View 
Steinway  &  Sons'  Grand  Iron  Frame,  1875 — Back  View 


70 
50 
74 
75 
75 
51 
62 
55 
60 
74 
76 
52 
63 
72 
73 


Ke,  Chinese,  2650  B.  C 28 


Keyboards 

Cludsam's  Concave  Keyboard,  1910       .... 

Janko-Perzina  Keyboard,  1910 

Perzina's  x\ction  for  Practice  Clavier  for  Janko  Keyboard 
Perzina's  Key  for  Janko  Keyboard,  1910 
Perzina's  Practice  Clavier  for  Janko  Keyboard  . 
Perzina's  Reversible  Kev-bottom  for  two  Kevboards 


78 
79 
82 
81 
82 
81 


Monochord,-  582  B.  C 27 

National  Association  of  Piano  Dealers  of  America,  Presi- 
dents of,  from  1902  to  1911 Insert     411 


18 


ILLUSTRATIONS 


Xatioual  Association  of  Piano  Manufacturers  of  America, 
Presidents  of,  from  1897  to  1911      ....      Insert 


410 


Pianos 

Baldwin  Art  Grand 

Chickering  c^'  Sons'  Louis  XIV.  Art  Grand     . 

Christofori's  Piano  e  forte,  1711 

Erard  Art  Grand 

Everett  Piano  Company  Sheraton  Art  Grand 

John  Broadwood  &  Sons'  Art  Grand 

Julius  Bliithner  Art  Grand       .... 

Ludwig  Bosendorfer  Art  Grand 

Pleyel,  Lyon  &  Company  Eenaissance  Art  Grand 

Eudolf  Ibacli  Sohn  Jubilee  Art  Grand     . 

Steinway  &:  Sons'  Art  Grand,  made  for  Frederick  Mar- 
quandt Insert 

Steinway  &  Sons'  One-hundred-thousandth  Piano,  at  the 

Insert 
Insert 
Insert 


Insert 

190 

Insert 

190 

. 

15 

Insert 

190 

Insert 

190 

Insert 

190 

Insert 

190 

Insert 

190 

Insert 

190 

Insert 

190 

190 


White  House Insert  190 

Weber  Louis  XIV.  Art  Grand Insert  190 

William  Knabe  &  Co  ''  Nouveau  Art  "  Grand     .     Insert  190 

Albrecht's  Square  Piano,  1789 50 

Friederici's  Square  Piano,  1758 49 

Zumpe's  Square  Piano,  1760-65 47 

Hawkins' Upright  Piano,  1800 53 

Pleyel,  Lyon  &  Company  Gothic  LqDright       .        .      Insert  190 

Southwell's  Upright  Piano,  1807 54 

Piano,  Mathushek's  Table 323 

Pfeiffer's  (Carl  J.)  Action  for  Pedal  Upright  Pianos  .        .  192 

Pfeitfer's  (Carl  J.)  Attachment  for  Pedal  Grand  Piano     .  192 

Pfeiffer's  (Carl  J.)  Mechanism  for  Organ  Pedal  Practice  .  193 

Pfeiffer's  (Carl  J.)  Upright  Piano  for  Pedal  Practice       .  193 


PiAXo  Players  and  Player  Pianos 

Bishop  «S:  Downe's  Keyboard  Attachment,  1883  . 
Brown's  (Theodore  P.)  Interior  Player,  1897       . 
Clark's  (Melville)  Stroke  Button  in  front  of  Fulcrum 
Clark's  (^^lelville)   Transposing  Device,  1899 
Clark's  (Melville)  Transposing  Device,  1902  . 
Crook's  (J.  W.)   Themodist,  1900 


139 
150 
156 
151 
152 
161 


ILLUSTKATIONS  19 

PiAXO  Players  axd  Player  Pianos,     Continued  page 

Dauqliard's  (Thomas)  Flexible  Finger  Mechanism,  1904  .  155 

Fourneaux's  Pianista 134,  135 

Oallv's  CMerritt)  Player  Mechanism,  1881     ....  138 

Goolman's  (F.  R.)  Harmonist  Player,  1898  ....  153 
Hobart's  (A.  J.)  Endless  Tune  Sheet,  1908  .        .        .        .154 

Ilupfeld's  (Liidwig)  Phonohi  Player,  1902   .        .        .    158,  159 

Keeley-Danquard  Temponome,  1911 162 

Kelly's  (George  B.)  Wind  Motor  with  Slide  Valves,  1886  .  139 

Klugh's   (Paul  B.)   Auxiliary  Key,  1906       ....  153 

Kuster's  (Charles  A.)  Mechanical  Instrument,  1886  .        .  140 

McTammany's  (John)  Automatic  Playing  Organ       .        .  137 

Parker's  (AVilliam  D.)  Automatic  Piano,  1892     .        .    141,  142 

Votey's  (Edwin  S.)  Cabinet  Player  Pianola  ....  14!) 

Welin's  (Peter)  Individual  Valve  System     ....  157 
White   &   Parker's   Automatic   Piano   Player   in   Cabinet 

Form,  1897 \   145,  146,  147,  148 

Wliite  and  Parker's  Combination  Upright  Piano  and  Reed 

Organ,  1895 143,  144 

Young's  (F.  L.)  Metrostyle,  1901 161 

Portraits 

Andre,  Carl 408 

Bach,  Johann  Sebastian 385 

Bauer,  Julius 362 

Bechstein,   Carl 23(5 

Becker,  Jacob 264 

Behning,  Henry 319 

Beethoven,  Ludwig  von 387 

Bietepage,  A 2()5 

Blondel,  Alphonse 254 

Bliithner,  Julius 235 

Bond,  S.  B 373 

Bosendorfer,  Ludwig 220 

Briggs,  Charles  C .  293 

Brinsmead,  John 247 

Brinsmead,  Thomas  James 248 

Broadwood,  John 243 

Biilow,  Hans  von 391 

Burns,  P^rancis  Putnam 287 

Bush,  William  H 356 


20 


ILLUSTRATIONS 


Cable,  H.  D.  . 
Campbell,  John  C. 
Carreno,   Teresa    . 
Chase,  Braton  S.  . 
Chickering,  C.  Frank 
Chickering,  George  H. 
Chickering,   Jonas 
Chickering,  Thomas  E 
Chopin,  Frederic  . 
Church,  John 
Clark,  Melville       . 
Conover,  J.  Frank 
Conway,  Edwin  S. 
Decker,  Myron  A. 
De  Pachmann 
Ehrbar,  Friedrich 
Engelhardt,  Frederick 
Erard,  Sebastian  . 
Estey,  Jacob  . 
Estey,  Julius  . 
Fischer,  Charles  S. 
Friederici,  C.  E.   . 
Fuller,  Levi  K. 
Gabler,  Ernest 
Gennett,  Henry 
Gross,  Jacob  . 
Haines,  Napoleon  J. 
Hale,  Joseph  P.     . 
Hansing,  Siegfried 
Hazelton,  Henry    . 
Healy,  P.  J.    . 
Heintzmann,  Theodore 
Herrburger,  Josef 
Herz,  Henry   . 
Hofmann,  Josef     . 
Ibach,  Carl  Rudolf 
Ibach,  Johannes  Adolf 
Ibach,  Rudolf 
Irmler,  J.  G.  . 
Irmler,  Oswald 
Isermann,  J.  C.  L. 
Jacob,  Charles 


A. 


PAGE 

343 
335 
398 
358 
274 
275 
271 
273 
388 
338 
377 
344 
341 
317 
397 
221 
379 
253 
363 
366 
289 
48 
365 
314 
349 
291 
296 
180 
426 
288 
350 
313 
261 
258 
400 
223 
222 
224 
225 
226 
238 
321 


ILLUSTRATIONS 


Jacob,  C.  Albert  . 
Janko,  Paul  von  . 
Joseffy,  Rafael 
Kelly,  George  B.  . 
Kimball,  William  Wallace 
Knabe,  Ernest 
Knabe,  William 
Krakauer,  Simon  . 
Krell,  Sr.,  Albert  . 
Kriegelstein,  Charles  . 
Kurtzmann,  Christian  . 
Lee,  Frank  A. 
Lindeman,  Henry  . 
Lindeman,  William 
Liszt,  Franz  , 
Lufkin,  W.  . 
Lyon,  Gustave 
Mason,  J.  R.  . 
Mathushek,  Frederick  . 
]\rcTanmianv,  .folin 
Miller,  Henry  F.  . 
Mozart,  Wolfgang  Amadeu 
Paderewski,  I.  J.  . 
Patzschke,  C.  W.  . 
Perkins,  Edward  R. 
Pfriemer,  Charles 
Pleyel,  Camille 
Pleyel,  Ignace 
Poehlmann,  Moritz 
Post,  Charles  N.  . 
Powers,  Patrick  H. 
Rachals,  Edward  Ferdinand 
Rachals,  Mathias  Ferdinand 
Ronisch,  Carl  . 
Rosenthal,  Moriz  . 
Rubinstein,  Anton 
Schiedmayer,  Sr.,  Adolf 
Schiedmayer,  Adolf 
Schiedmayer,  Hermann 
Schiedmayer,  Johann  David 
Schiedmayer,  Johann  Lorenz 
Schiedmayer,  Julius     . 


21 

PAGE 

322 
80 
392 
332 
340 
283 
282 
327 
357 
259 
292 
339 
280 
279 
389 
342 
406 
372 
324 
136 
337 
386 
399 
24a 
330 
382 
256 
255 
242 
352 
2i)4 
234 
233 
237 
393 
390 
229 
407 
230 
227 
228 
231 


22 


ILLUSTEATIONS 


Scliiedmayer,  Paul 
Sclunidt,  John  Frederick 
Scliomacker,  John  Henry 
Schroder,  Carl  Nicolai 
Schroder,  Johann  Friedrich 
Schroter,  Christoph 
Schulz,  Mathias     . 
Sclnilz,  Otto    . 
Schwander,  Jean   . 
Seaverns,  George  W.   . 
Shoninger,  Bernhard   . 
Sohmer,  Hugo 
Smith,  Freeborn  G. 
Starr,  Benjamin    . 
Steek,  George 
Steger,  John  V. 
Steinway,  Albert   . 
Steinway,  Charles 
Steinway,  C.  F.  Theodore 
Steinway,  Henry   . 
Steinway,  Henry,  Sr.  . 
Steinway,  William 
Sterling,  Charles  A. 
Stietf,  Frederick  P.       . 
Story,  Edward  H. 
Story,  Hampton  L. 
Tremaine,  Harry  B.     . 
Tremaine,  William  B.  . 
Vose,  James  Whiting  . 
Votey,  Edwin  S.     . 
Watson,  Henry  C.  . 
Weber,  Albert 
Weickert,  August  Moritz 
Weickert,  Otto       . 
Wessell,  Otto  . 
Wheelock,  William  E.  . 
White,  Edward  H. 
White,  Henry  Kirk 
White,  Howard 
White,  James  H.  . 
Whitney,  Calvin     . 
Wolff,  Auguste 


PAGE 

232 
381 
281 
263 
262 
42 
359 
360 
260 
127 
316 
320 
315 
348 
318 
361 
311 
306 
303 
307 
300 
308 
371 
290 
376 
375 
329 
328 
295 
331 
416 
297 
239 
241 
380 
326 
369 
367 
370 
368 
374 
257 


ILLUSTEATIOXS  23 

PAGE 

Will  sin,  Liicien 345 

Wiirlitzer,  Kudolj)!! 354 

Yamaba,  Torakusu 266 

Resonator,  Richard  AV.  Gertz's ]10 

Resonator,  Detail  of  Richard  W.  Gertz's Ill 

Spinet  Jack 32 

Spinet,  Rossi's,  1550 33 

Spinet,  1560,  Hans  Ruckers'  Double     .        .        .        .     Insert  190 

Spinet  of  Spinnetti,  1503 32 

Steinert  at  the  Clavichord,  Morris       .        .        .       Insert     427-428 

Virginal,  16th  Century 34 


PART    ONE 

Technical  Development  of  the  Pianoforte 

CHAPTER  I 

The  Monochoed,  Pythagoras,  Guido  of  Arezzo,  the  Chinese  ''  Ke.'^ 

The  Clavicytherium,  Italy  and  Germany. 

The  Clavichord,  Daniel  Faber,  Bach,  Mozart,  Beethoven. 

The  Spinet,  Giovanni  Spinnetti. 

The  Harpsichord  and  its  development. 


PIANOS  AND  THEIR  MAKERS 

PART  ONE 

Technical  Development  of  the  Pianoforte 

CHAPTER  I 

The  Pkototype  of  the  Pianoforte 
The  Monochord 

THIS  instrument  was  used  by  Pythagoras  (582  B.  C.)  for 
experiments  regarding  the  mathematical  rehitions  of 
musical  sounds.  A  single  string,  presumably  catgut,  was 
strung  over  a  wooden  box.  Directly  underneath  the  string  a  strip 
of  paper  was  glued  to  the  top  of  the  box,  on  which  the  sections 
and  subdivisions  corresponding  with  the  intervals  of  the  scale 
were  marked.  Pressing  the  string  down  upon  a  given  mark,  and 
then  plucking  it,  a  tone  was  produced,  high  or  low,  according  to 
the  place  of  the  scale  where  the  string  was  held  down  with  the 
finger. 


.Monochord,   582   B.C. 
27 


28 


PIANOS  AND  THEIR  MAKERS 


The  monochord  came  into  universal  use  among  the  Greeks,  and 
also  in  the  Roman  churches  as  an  instrument  to  sound  the  keynote 
for  chorus  singing.  To  assure  a  quicker  and  especially  more  cor- 
rect intonation,  Guido  of  Arezzo  (about  100  A.  D.)  invented  the 
movable  bridge  under  the  string  of  the  monochord.* 


Chinese  Ke,  2650  B.C. 


After  the  invention  of  the  movable  bridge  for  the  monochord 
further  improvements  came  rapidly.  The  clavis  (keys),  which 
came  in  use  on  church  organs  shortly  after  the  year  1000  A.  D., 
were  applied  to  the  monochord,  which  then  was  built  with  more 
than  one  string.  Each  clavis,  or  key,  had  a  tangent,  or  pricker. 
As  soon  as  the  clavis  was  pressed  down,  this  tangent  would  prick 
the  string  on  the  proper  division  of  the  scale  and  thus  assure  the 
sounding  of  the  correct  tone  required  for  the  guidance  of  the 
singers. 

The  use  of  the  clavis  soon  led  to  an  increase  in  the  number 
of  strings  and  during  the  12tli  and  13th  centuries  many  experiments 


*  The  Chinese  as  early  as  2650  B.C.  used  an  instrument  called  '"  ke,"  far  superior  to 
the  monochord.  The  ke  had  fifty  strings  strung  over  a  wooden  box  approximately  five 
feet  long.  Each  string  was  spun  of  eighty-one  fine  silk  threads,  and  of  such  length 
that  an  experienced  player  could,  by  proper  manipulation,  produce  the  upper  and  lower 
fifth  of  each  tone  on  the  string  which  he  pricked  or  plucked. 

Later  on  the  ke  was  improved  by  the  use  of  movable  bridges,  one  for  each  string; 
the  number  of  strings  was  reduced  to  twenty-five,  and  the  bridges  were  arranged  in 
groups  of  five,  each  group  distinguished  by  a  dilTerent  color; — group  1,  blue;  2,  red;  3, 
yellow;  4,  white;  5,  black.  This  indicates  that  the  Chinese  understood  the  relation 
of  colors  to  tone.  It  can  readily  be  seen  that  an  expert  performer  could  produce  a  great 
variety  and  combination  of  tones  by  aid  of  the  movable  bridges.  Indeed  the  Chinese 
considered  the  ke  the  acme  of  musical  instruments,  and  the  virtuosos  and  masters  of 
the  ke  spoke  of  it  and  its  use  as  enthusiastically  and  admiringly  as  Bach  and  Beethoven 
spoke  of  the  clavichord  nearly  4,000  years  later. 


THE  CLAVICHORD 


29 


were  made  to  construct  an  instrument  which  would  give  all  the 
notes  of  the  scale  correctly. 

These  experiments  led  finally  to  the  invention  of  the  "  clavicy- 
therium. ' ' 

The  Clavicytherium 

This  is  an  instrument  in  which  the  strings  were  arranged  in 
the  form  of  a  triangle  (harp  form).  The  strings  were  of 
catgut,  and  sounded  by  the  pricking  of  a  quill  plectra,  fastened 
to  the  end  of  the  clavis.  Fetis  believes  that  the  clavicytherium 
was  invented  in  Italy  about  1300  and  afterwards  copied  and  im- 
proved by  the  Germans.  The  efforts  to  improve  the  instrument 
finally  developed  the  ''  clavichord." 


The  Clavichord 

The  first  clavichords,  built  during  the  15th  century,  had  only 
20  or  22  strings  of  brass,  which  were  made  to  vibrate,  not  by  pluck- 
ing or  pricking,  but  by  being  agitated  through  the  pressure  of  a 
tangent  (a  brass  pin  flattened  on  top)  fastened  to  the  clavis.  The 
form  of  the  clavichord  was  similar  to  the  later  square  piano. 


30 


PIANOS  AND  THEIR  MAKERS 


Toward  the  end  of  the  16th  and  the  beginning  of  the  17th  century, 
it  was  improved  so  nnich  that  it  became  the  favorite  keyed  instru- 
ment of  the  period.  It  maintained  its  supremacy  during  the  18th 
century,  long  after  the  appearance  of  the  pianoforte.  The  accom- 
panying picture  shows  a  clavichord  with  50  keys  (there  are  some 

in  existence  with  77  keys)  and  a 
soundboard  with  5  bridges,  simi- 
lar to  the  Chinese  ke.  The  sound- 
board covers  only  half  of  the  in- 
strument, the  part  where  the  keys 
are  located  being  open  of  neces- 
sity. 

The  clavichord  usually  has 
more  keys  than  strings,  since 
the  tangent,  in  striking,  gives 
tone  and  pitch  at  the  same  time. 
Most  clavichords  have  two  keys 
to  each  string,  some  three,  while 
on  the  earlier  clavichords  we  find 
two  tangents  fastened  to  one  key, 
and  the  performer  had  to  manipu- 
late the  key  so  as  to  make  each 
tangent  strike  at  the  proper 
place.  This  was  rather  difficult 
and  made  the  execution  of  any 
but  the  simplest  compositions 
almost  impossible.  Still,  it 
was  not  until  1725  that  a  clavichord  was  constructed  by 
Daniel  Faber  of  Germany,  which  had  a  separate  string  and 
key  for  each  note.  To  prevent  vibration  and  consequent  irri- 
tating sounding  of  the  shorter  part  of  the  string  when  agitated 
by  .the  tangent,  a  narrow  strip  of  cloth  was  interlaced  with  the 
strings. 


Clavichord,  16th  Century 


THE  CLAVICHORD 


31 


Thus  the  clavichord  possessed  four  of  the  most  vital  ])oints 
of  the  modern  pianoforte:  The  independent  soundboiu-d,  metid 
strings,  the  percussion  method  of  agitating  the  string,  the  tangent 
touching  or  striking  the  string,  instead  of  plucking  or  pricking, 
and  histly  the  application  of  the  damper.  The  greatest  improve- 
ment was  the  new  method  of  tone  i)roduction  by  whicli  the  clavi- 
chord became  the  first  keyed  instrument  enal)ling  the  performer 
to  express  his  individuality. 

While  the  tone  of  the  clavichord  was  very  weak,  it  was  capable 
of  reflecting  the  most  delicate  gradation  of  touch  of  the  player  and 
l^ermitted  the  execution  of  most  exquisite  crescendo  and  decre- 
scendo.  The  Idangfarlje  (tone  color)  of  the  clavichord  was  of  a 
very  sympathetic,  almost  spiritual  character.  Virtuosos  like 
Johann  Sebastian  Bach  and  Emanuel  Bach  produced  charming  and 
captivating  effects  bj'  a  trembling  pressure  of  the  finger  upon  the 
key,  holding  the  notes,  thus  emphasizing  the  intention  of  the  player 


Clavichord.  ITtli  CVntury 


32 


PIANOS  AND  THEIR  MAKERS 


Spinet  Jack 


in  interpreting  a  composition.  In  short, 
the  clavichord  was  tlie  first  keyed  instru- 
ment with  a  soul.  It  is  not  surprising  that 
such  masters  as  Bach,  Mozart  and  even 
Beethoven  preferred  the  clavichord  to 
the  more  powerful  harpsichord  and  the 
early  pianoforte.  Indeed,  Mozart,  while 
traveling  about  Europe  as  a  piano  vir- 
tuoso, carried  a  clavichord  with  him, 
for  daily  practice.  Mozart  composed 
his  "  Magic  Flute  "  and  other  master- 
pieces on  that  instrument. 

However,  the  small,  weak,  though 
sweet  and  musical  tone  of  the  clavi- 
chord did  not  satisfy  many  of  the  music 
lovers.  They  desired  an  instrument  which 
would  speak  louder. 


The  Spinet 

About  1503  Giovanni  Spinnetti,  of  Venice,  constructed  an  in- 
strument of  oblong  form, 
with  a  compass  of  four  oc- 
taves. This  oblong  form  en- 
abled Spinnetti  to  use  very 
long  strings  and  a  larger 
soundboard,  covering  nearly 
the  entire  space,  thus  mate- 
rially increasing  the  tone 
volume.  These  long  strings, 
however,  could  not  be  agi- 
tated effectually  by  a  strik- 
<•  o  .     ...  ,.^„  iiin   tangent;   it  was  neces- 

Spinet  of  Spinnetti,  1503  *  '^         ' 


THE  SPINET 


33 


sary  to  set  the  strings  in  motion  by  pricking  or  twanging.  We, 
therefore,  find  on  the  clavis  of  the  spinet,  a  ''  jack  "  witli  cen- 
tered tongue  on  its  upper  end.  Into  this  tongue  a  quill,  fastened  to 
a  spring,  is  inserted,  and  when  the  key  is  pressed  down,  the  point 
of  the  quill  twangs  the  string  through  the  upward  movement  of 
the  jack.  A  small  piece  of  cloth,  fastened  to  the  jack,  dampens  the 
string  as  soon  as  the  jack  comes  down  again  to  its  natural  posi- 
tion.   This  instrument  was  called  a  "  spinet,"  after  the  inventor. 

Although  this  twanging  of  the  string  produced  a  wiry,  nasal 
tone,  and  the  player  could  not  play  with  any  expression,  as  on  the 
clavichord,  the  spinet  became  very  popular,  because  of  its  greater, 
louder  tone.  Spinets  were  built  in  sizes  from  Si/o  to  5  feet 
wide.  The  smaller  instruments  could  be  easily  carried  about,  and 
were  usually  played  upon  a  table,  which  increased  the  resonance. 
Spinnetti  had  placed  the  keyboard  outside  of  the  case,  but  about 
1550  Eossi  of  Milan  built  spinets  in  which  the  keyboard  was  within 
the  case. 

In  England  the  spinet  became  generally  known  under  the  name 
of  "  virginal,"  and  many  writers  have  fallen  into  the  error  of 
assuming  that   the   virginal   differs  materially  from   the   spinet. 


Rossi's  Spinet,  1550 


34 


PIANOS  AND  THEIR  MAKERS 


Careful  comparisons  of  spinets  and 
so-called  virginals,  by  competent 
judges,  have  established  the  fact 
that  there  is  no  vital  difference 
to  be  found. 

Naturally,  the  various  builders  of 
spinets  in  Italy,  Germany,  Flanders, 
and  especially  England,  experimented 
in  many  ways  to  improve  the  volume 
and  quality  of  tone  as  well  as  the 
form  of  the  case.  Rimbault  repro- 
duces a  pen-and-ink-sketch  of  a 
"  virginal,  made  harp  fashion,"  ap- 
parently built  at  the  end  of  the 
16th  century,  which  might  be 
considered  the  prototype  of 
the  upright  piano  of  the  pres- 
ent day.  If  this  drawing  is  cor- 
rect, a  rather  complicated  ac- 
tion must  have  been  used  to 
get  the  plectra  in  motion. 
From  specimens  of  spinets  or  virginals  now  extant,  the  conclu- 
sion may  be  drawn  that  the  European  continental  makers  gave 
the  triangular  form  the  preference,  while  English  makers  used 
the  square,  oblong  and  upright  forms.  The  quill  or  wing  form  (Ger- 
man fiugel)  identical  with  the  form  of  the  present  grand  piano 
and  later  used  entirely  for  the  '•  harpsichord,"  seems  to  have 
been  first  used  by  Geronimo  of  Bologna  (1521). 


Virginal,   IGtli  Century 


The  Harpsichord 

The  adoption  of  this  form  was  dictated  by  the  desire  for  a 
greater  volume  of  tone.     Indeed,  the  early  hari)sichord  was  in 


THE  HARPSICHORD  35 

all  its  features  (except  the  wing  form)  only  an  enlarged  spinet. 
Tlie  larger  case,  greater  soundboard  and  greater  number  of 
much  longer  strings  of  the  hari)sichord  opened  a  new  field  for 
inventive  genius,  Wliile  the  tone  produced  on  the  longer  string 
had  a  greater  volume  and  was  louder  than  that  of  the  spinet,  it 
was  at  the  same  time  harsher,  raw,  more  nasal  and  almost  offen- 
sive to  the  ear.  When  used  with  the  orchestra  this  serious  fault 
was'  not  so  noticeable,  but  for  solo  performances  the  harpsichord 
was  very  unsatisfactory.  To  overcome,  or  at  least  mollify  this 
harshness,  many  experiments  were  made,  even  to  desperate 
attempts  to  attach  a  mechanical  orchestra  to  it,  adding  devices 
which  were  to  imitate  the  lute  and  flute,  operated  by  stops;  also, 
by  means  of  pedals,  a  complete  Janissary  music,  including  snare 
and  bass  drum,  cymbals,  triangle,  bells  and  other  noisy  instru- 
ments. In  accordance  with  the  variety  of  these  appendages  the 
number  of  pedals  increased,  and  harpsichords  with  as  many  as 
25  pedals  are  still  to  be  found. 

Of  all  those  manifold  experiments  only  four  have  proved  of 
permanent  value.  The  "  forte  stop,"  which  lifted  the  dampers; 
the  "  soft  stop,"  which  pressed  the  dampers  on  to  the  strings  to 
stoi3  the  vibration;  the  "  buft"  stop,"  interposing  soft  cloth  or 
leather  between  the  jacks  and  the  strings,  and  lastly  the  "  shift- 


Harpsichord,  1521 


36 


PIANOS  AND  THEIR  MAKERS 


ing  stop,"  which  shifted  the  entire  keyboard,  a  movement  later 
applied  to  the  transposing  keyboard. 

In  the  effort  to  produce  greater  volume  of  tone  the  makers  con- 
tinued to  increase  the  size  of  the  harpsichord  until  it  had  reached 
the  extreme  length  of  16  feet.  Very  thin  wire  had  to  be  used  for 
the  strings,  since  the  frail  cases  would  not  stand  the  increased 
tension  of  heavier  wires,  nor  could  the  flimsy  quill  plectra  make 
the  heavy  wires  vibrate  well.  The  longer  the  string  of  thin  wire, 
the  less  musical  was  the  tone  produced  by  twanging,  and  the  best 
makers  returned  to  the  length  of  8  to  10  feet,  seeking  to  improve 
tone  quality  and  volume  by  increasing  the  number  of  strings  from 
one  to  two,  three  and  even  four,  for  each  note. 


Harpsichord  with  Double  Keyboard,  End  of  16th  Centuf'y 


THE  HARPSICHORD 


37 


About  the  middle  of  the  17th  century,  harpsichords  with  two 
keyboards  and  three  strings  for  each  note  were  built.  The  third 
string,  usually  hitched  to  the  soundboard  bridge,  was  thinner  and 
shorter  than  the  two  main  strings  and  tuned  an  octave  higher 
than  the  main  strings.  AVith  the  two  keyboards  the  player  could 
use  the  two  or  three  strings  of  each  note  separately  or  together. 
Because  of  these  improvements,  especially  the  forte  piano  pedals, 
and  the  greater  tone,  musicians  preferred  the  harpsichord  to  the 
spinet,  and  many  compositions  were  written  for  it  from  Scarlatti's 
time  (1670)  to  Beethoven's  "  Moonlight  Sonata  "  (1802). 

Toward  the  end  of  the  18th  century,  when  the  pianoforte  began 
to  take  the  place  of  the  harpsichords,  attempts  were  made  to  im- 
prove the  tone  quality  of  the  harpsichord  by  using  buff  leather 
at  the  points  of  the  jack,  instead  of  quills,  but  evidently  without 


Harpsichord.  ^litldle  of  ITtli  Contury 


38  PIANOS  AND  THEIR  MAKERS 

success.  The  fact  that  the  harpsichord,  like  the  spinet,  gave  the 
player  no  possible  opportunity  to  exercise  any  artistry,  as  on 
the  clavichord  or  the  pianoforte,  sealed  the  doom  of  the  instru- 
ment, and  with  the  end  of  the  18th  century  the  end  of  the  harpsi- 
chord had  come,  leaving  for  the  pianoforte  maker,  however,  the 
valuable  inventions  of  the  iving-formed  case,  the  use  of  the  tivo 
and  three  strings  for  one  note,  and  lastly  the  forte  piano  pedal 
and  shifting  keyboard,  all  of  which  are  embodied  in  the  present-day 
piano. 


PART    ONE 

CHAPTER  II 

The  Pianoforte,  Christofori,  Marius,  Schroter,  Silbermann,  Back- 
ers, Stein,  German,  Austrian  and  English  Schools,  Friederici. 

The  Square  Piano,  Ziimi^e,  Broadwood,  Erard,  Behrend,  Albrecht, 
Crehore,  Osborn,  Babcock,  Chickering,  Steinway,  Matlmshek, 

The  Upright  Piano,  Schmidt,  Hawkins,  Loud,  Southwell,  "Wornum, 
Pleyel. 

The  Grand  Piano,  Geronimo,  Still,  Stodart,  Broadwood.  Erard, 
Stein,  Xannette  Stein-Streieher,  Loud,  Jardiue,  Chickering, 
Steinway,  Bosendorfer,  Kaps. 


PART    OXE 

CHAPTER  II 

The  Pianoforte 

THE  desire  to  combine  the  wonderful  tone  sustaining  capacity 
of  the  clavichord  with  the  power  of  the  harpsichord,  was 
shared  by  musicians  as  well  as  builders.  No  doubt  many 
builders  attempted  to  put  a  hammer  action  into  the  harpsichord. 
Marius  of  Paris  submitted  (1716)  three  models  of  harpsichord  ham- 
mer actions  to  the  Academy  of  Sciences,  but  apparently  no  instru- 
ments have  been  built  containing  his  action,  probably  because  a 
hammer  action,  to  be  effective,  required  a  different  construction  of 
the  entire  instrument  than  that  of  the  harpsichord.  It  seems  much 
more  reasonable  to  assume  that  the  dulcimer  (the  German  Jiack- 
hrett),  which  was  played  upon  with  hammers  held  in  the  hands 
of  the  performer,  similar  to  the  xylophone,  led  to  the  invention 
of  the  pianoforte. 

It  is  not  surprising,  that,  at  a  period  when  all  makers  of  harpsi- 
chords were  struggling  for  tone  improvement,  three  inventors, 


,:;««!£ 


^^r^^.l— U.i 


Marius'  Downward  Striking  ?Iainmer  Action 
41 


42 


PIAXOS  AND  THEIR  MAKERS 


independent  of  one  an- 
other, should  strike  the 
same  idea  at  about  the 
same  time — Christofori  in 
1707,  Marius  in  1716  and 
Schroter  in  1717.  Chris- 
toph  Schroter,  a  German 
organist,  submitted  his 
models  of  hammer  actions, 
one  with  upward  and  one 
with  downward  movement, 
to  the  King  of  Saxony  in 
1721,  claiming  that  these 
models  had  been  finished 
in  1717.  Schroter  de- 
clared that  the  idea  of  a 
hammer  action  came  to 
him  after  hearing  the  vir- 
tuoso, Hebenstreit,  perform  on  his  monster  hackbrett  (dulcimer) 
called  "  Pantaleon."  Simple  and  crude  as  Schroter 's  action  is,  it 
must  be  considered  the  fundamental  of  what  later  on  became  known 
as  the  German,  more  particularly,  "  Vienna  "  action.  The  idea  of 
having  the  hammer  butt  swing  in  a  fork,  as  Schroter 's  model  shows, 


Christoph  Schroter 


Marius'  Upward  Striking  Hummer  Action 


THE  PIANOFORTE 


43 


Dulcimer 


bchruter  Upward  Striking  lianimer  Action,  1717 


iScliriJtcr  Downward  Striking  Hammer  Action,  1717 


44 


PIANOS  AND  THEIR  MAKERS 


Silbermann"s  Hammer  Action,  1728 


Christofori's  Hammer  Action,  1707 


Christofori's  Hammer  Action,  1720 


THE  PIANOFORTE 


45 


has  been  utilized  in  all  later  improvements  of  the  so-called  German 
action.  Schroter  was  disappointed  in  not  getting  aid  from  his 
King  to  build  his  instruments,  and  no  pianofortes  of  his  make  are 
known.  As  early  as  1724,  however,  ])ianofortes  containing  the 
Schroter  action  were  made  at  Dresden. 

It  is  also  of  record  that 
the  great  organ  l)uilder, 
Gottfried  Silbermann,  of 
Freiberg,  Saxony,  made 
pianofortes  with  Schroter 
actions  as  early  as  1728.  He 
simplified  and  improved  the 
action  somewhat,  as  illus- 
tration shows.  However, 
the  action  was  unreliable,  the 
touch  heavy  and  hard  as 
comi)ared  to  the  clavichord, 
and  the  great  Johann  Se- 
bastian Bach  condemned  the 
first  pianoforte  which  Silber- 
mann had  built  because  it 
was  too  hard  to  play,  al- 
though he  praised  the  tone 
produced  by  the  hammer. 

It  seems  that  Silbermann  came  into  possession  of  a  Christofori 
pianoforte,  because  the  pianofortes  built  by  him  for  Frederick  the 
Great,  about  1747,  have  hammer  action  exactly  like  Christofori 's 
invention.  In  Silbermann's  workshop  originated  the  two  schools 
of  piano  construction  known  as  the  ''  German  school  "  and  the 
"  English  school."  There  is  no  doubt  that  Silbermann  used  both 
the  Schroter  and  the  Christofori  action  for  his  pianofortes. 

The  invention  of  the  i)ianoforte  as  an  entire  and  complete  in- 
strument must  be  credited  to  Bartolomo  Christofori  (sometimes 


Christofori's  Piano  e  forte,  1711 


46 


PIANOS  AND  THEIR  MAKERS 


Zurape's  Hammer  Action,   1700-G5 

called  Cliristofali)  of  Padua.  A  publication  dated  1711  contains 
a  drawing  of  Cliristofori's  hammer  action,  which  he  had  completed 
in  1707,  and  used  in  his  first  experimental  instrument  which  he 
called  ''  piano  e  forte."  This  instrument  was  exhibited  in  1711. 
About  1720,  Christofori  finished  his  real  pianoforte.  He  con- 
structed a  much  stronger  case  than  had  been  used  for  harpsichords, 
to  withstand  the  increased  strain  of  the  heavier  strings.  The  action 
in  this  pianoforte  shows  important  improvement  over  his  model 


Backers'  Hammer  Action,  1776 


THE  PIANOFORTE 


47 


Stein's  Hammer  Action 


of  1707.  He  added  the  escapement  device,  a  back  check,  regulating 
the  fall  of  the  hammer,  and  connected  an  individual  damper  for 
each  note  direct  with  the  hammer  action,  thus  giving  the  performer 
a  mechanism  with  which  he  could,  through  his  touch,  produce  a 
delicate  pianissimo  and  also  a  strong  fortissimo,  impossible  on 
either  clavichord  or  harpsichord.  Christofori  died  in  1731.  As 
far  as  we  can  learn  he  left  no  pupils,  unless  we  so  consider  Silber- 
mauu. 

Silbermann's  pupils,  Johannes  Zumpe  and  Americus  Backers 
(Becker),  went  to  London  and  introduced  there  a  modified  Chris- 
tofori action,  which  later  on,  further  developed  by  various  makers, 
became   known   as    the    ''  English  "    action.     Silbermann's    most 


Zumpe  Square  Piano,  17G0-65 


48 


PIANOS  AND  THEIR  MAKERS 


talented  pupil,  Joliann 
Andreas  Stein  of  Augs- 
burg, however,  took  the 
Schroter  design  as  a  basis 
for  his  improvement, 
which  is  known  as  the 
"  Vienna  "  or  "  Ger- 
man "  action. 

The  greatest  activity 
in  the  development  of  the 
pianoforte  took  place  in 
the  periods  from  1760  to 
1830,  and  from  1855  to 
1880.  Modulations  as  well 
as  radical  departures  in 
form  were  almost  number- 
less, mainly  inspired  by  a 
desire  to  produce  an  in- 
strument which  would 
take  up  less  room  than  the  long,  wing-shaped  grand  piano.  As 
early  as  1745,  C.  E.  Friederici  of  Gera,  Germany,  a  pupil  of  Silber- 
mann,  constructed  a  vertical  grand  piano  and  about  1758  he  built 
the  first  square  piano  in  Germany.  About  1760-65,  Johannes  Zumpe 
built,  at  London,  the  first  English  square  piano. 


L.  E.  Friederici 


The  Square  Piano 


This  evolved  from  reconstructed  clavichords,  retaining  the  clavi- 
chord form  and  general  construction,  but  having  a  stronger  frame, 
metal  strings  and  the  hammer  action.  Following  Zumpe,  we  next 
learn  of  John  Broadwood  of  London  bringing  out  his  square  piano 
in  1771,  and  the  records  show  that  Sebastian  Erard  made  such  an 
instrument  at  Paris  in  1776,  copying  the  English  model.    Johann 


THE  SQUARE  PIANO  49 

Belirend  of  Philadelphia  exhibited  his  square  piano  in  1775.  Tims 
within  10  years  after  its  first  appearance,  the  square  piano  was 
made  in  Germany,  England,  America  and  France.  But  all  the 
square  pianos  of  those  days  were  weak  in  tone  and  not  to  be  com- 
pared to  the  grand  (wing  form)  i)ianoforte. 

It  seems  that  the  use  of  the  Christofori  action  in  England  (as 
modified  by  Backers),  having  the  hammer  rise  at  tlio  cud  of  the 
key  (instead  of  toward  the  center  of  the  key  as  in  the  Stein  action), 
suggested  the  idea  to  Broadwood  of  i)Iacing  the  wrest  i)hink 
along  the  back  of  the  case,  instead  of  along  the  right  hand  side, 
as  it  had  always  been  in  the  clavichord.  Broadwood  completed 
his  new  piano  with  this  improvement  in  1781.  This  epoch-making 
invention  revolutionized  the  construction  of  the  square  piano,  and 
gave  the  opportunity  of  increasing  the  volume  of  tone  to  an  unex- 
pected degree.  As  a  matter  of  course,  this  invention  was  gradually 
adopted  by  all  the  leading  makers.  Even  the  German  school,  which 
had  developed  a  square  piano  construction  where  the  wrest  plank 
was  placed  in  the  front  part  of  the  case,  instead  of  sideways,  finally 
accepted  Broadwood's  construction,  together  with  the  English 
action. 

Not  considering  minor  improvements,  such  as  enlarging  the 
scale,  etc.,  no  further  development  of  the  square  piano  is  of  record 
by  European  makers  and  we  must  look  to  America,  where  the 


Friederici's  Square  Piano,  175S 


50 


PIANOS  AND  THEIR  MAKERS 


Alpheus  Babcock's  Full  Iron  Frame,  1825 

square  piano  reigned  supreme  for  nearly  one  hundred  years.  After 
Behrend  we  find  Charles  Albrecht  making  excellent  square  pianos 
in  Philadelphia  about  1789  and  Benjamin  Crehore  founding  the 
Boston  school  about  1792  at  Milton,  near  Boston,  where  John  Os- 
born  and  Alpheus  Babcock  were  his  most  talented  pupils.  Indeed, 
Alpheus  Babcock's  invention  of  the  full  iron  frame  in  1825  was 
just  as  important  an  innovation  and  improvement  as  Broadwood's 


Charles  Albredit's  Square  Piano,  1789 


THE  SQUARE  PIANO 


51 


Jonas  C'hifkoring's  Full  Iron  Frame,  1S37 


change  of  the  location  of  the  wrest  i)lank.  Tlie  never-ceasing 
demand  for  larger  tone  could  only  be  answered  by  heavier  string- 
ing, which,  however,  was  limited  l)y  the  power  of  resistance  of 
the  wooden  frame.  Babcock's  full  iron  frame  blasted  the  way  for 
further  development,  and  Jonas  Chickering  improved  Babcock's 
frame  so  materially  in  1837  that  a  patent  was  granted  to  him  in 
1840. 

Most  of  the  Boston  makers,  all  of  whom  inclined  toward  the 
English  school,  adopted  the  full  iron  frame,  but  New  York  makers, 
being  more  influenced  by  the  German  school,  objected  to  the  metal- 
lic tone  found  especially  in  the  upper  notes  of  pianos  with  iron 
frames,  caused  i)erha])s  fully  as  much  by  the  inferior  composition 
of  the  castings  then  available  as  by  too  close  connection  of  the 
strings  with  the  iron  })late  or  frame.  All  American  makers  of 
that  period  devoted  themselves  more  or  less  to  the  development  of 
the  square  piano,  so  that  it  soon  became  superior  to  the  upright 
piano  as  that  was  then  constructed. 

At  the  World's  Fair,  in  the  Crystal  Palace,  New  York,  in  1855, 
Steinway  &  Sons  created  a  sensation  by  exhibiting  a  square  piano 
having  the  overstrung  scale,  and  a  full  iron  frame,  designed  on 
novel  lines  to  conform  with  the  varied  and  much  increased  strain 


52 


PIANOS  AND  THEIR  MAKERS 


Steinway's  Full  Iron  Frame  and  Overstrung  Scale,  1855 


of  the  new  scale.  In  this  instrument  the  Steinways  had  not  only- 
succeeded  in  producing  a  much  greater,  sonorous  tone,  than  known 
heretofore,  but  had  entirely  overcome  the  harsh,  metallic  quality 
of  tone,  so  objectionable  in  other  pianos  having  the  full  iron  frame. 
Although  at  first  seriously  objected  to  by  many,  the  overstrung 
scale  and  full  iron  frame  were  soon  adopted  by  all  American 
makers. 

With  this  innovation  the  piano  industry  of  America  had  received 
a  new  impetus  and  it  developed  very  rapidly  from  then  on.  Im- 
provements were  continually  added,  among  which  the  linear  sound- 
board bridge,  invented  by  Frederick  Mathushek  in  1865,  may  be 
considered  as  the  most  ingenious. 

After  the  Paris  exposition  of  1867,  the  leading  American  manu- 
facturers followed  the  example  which  the  European  makers  had 
set  30  years  before,  and  began  to  push  the  upright  piano  to  the 
front.  For  the  very  reason  that  the  American  square  i^iano  had 
been  developed  to  a  real  musical  instrument  with  a  remarkable 
volume,  sonority  and  clearness  of  tone,  equal  in  some  instances 
to  the  ordinary  grand  piano  of  the  European  makers,  the  progress 
of  the  upright  piano  in  America  was  very  slow,  and  it  was  not  until 
1880  that  the  making  of  the  square  piano  came  to  an  end. 


THE  UPKIGHT  PIAXO 


53 


%?';( '/dh  /f??f  IftWi  ^  ?!^1  ■ 'i^'?T  n^'"^  .'^'t^'^^^F 


1 


n^^""iiiiiiiiii|i|iill!llilii!i||||||illllllillllE^^^ 


Hawkins"  Upright  Piano,  1800 


The  Uprif/Jit  P'kuw 

Not  considering  the  vertical  grands  of  Fabrici,  Stein  and  others 
of  this  class,  history  records  that  apparently  the  first  upright  piano 
^as  built  about  1780  by  Johann  Schmidt  of  Salzburg,  Austria, 
Twenty  years  later  John  Isaac  Hawkins  of  Philadeli)hia  patented 
an  upright  piano  witli  vertical  strings,  full  iron  frame  and  check 
action.  Notwithstanding  its  many  ingenious  devices,  this  })iano 
was  not  accei)ted  on  account  of  its  unsatisfactory  tone.  As  A.  J. 
Hipkins  so  properly  says,  "  it  was  a  remarkable  bundle  of  inven- 
tions," but  not  a  musical  instrument.  Hawkins  was  an  engineer 
by  profession. 

In  1802  Thomas  Loud  of  London  patented  an  upright  piano 
described  as  having  the  strings  running  diagonally.  It  is  ques- 
tionable whether  Loud  ever  had  any  success  in  building  such  instru- 


54 


PIANOS  AND  THEIR  MAKERS 


ments.  None  are  now  in  existence.  Loud 
emigrated  to  New  York  where  lie  built  so- 
called  "  piccolo  "  uprights  with  "  over- 
strung "  scale  as  early  as  1830. 

In  1807  William  Southwell  of  London 
came  out  with  his  "  Cabinet  "  (upright) 
piano,  having  a  compass  of  6  octaves,  F  to 
F.  In  1811  Robert  Wornum  of  London 
made  his  first  upright  with  diagonally  run- 
ning strings. 

The  popularity  of  the  upright  in  Europe 
dates  from  1826,  when  Wornum  had  devel- 
oped an  action  for  it  which  combined  pre- 
cision with  durability  and  permitted  of 
repetition,  responding  easily  to  a  light 
touch.  Ignace  Pleyel  of  Paris  adopted  this 
action  for  his  upright  pianos  and  it  be- 
came known  on  the  Continent  as  the 
''  Pleyel  "  action.       With    the    exception 


Wormnn's  I'pright  Action. 
182() 


Southweir.s  I'priglit  Piano,  1807 


of  changing  the  dampers 
from  their  j30sition  above 
the  hammers  to  a  more 
proper  place  below  the  ham- 
mers, this  Wornum  action  is 
practically  used  in  all  pres- 
ent-day ui)right  pianos. 

Pleyel  and  other  Paris 
firms  began  now  to  make  a 
specialty  of  upright  pianos 
with  such  success  that  square 
pianos  hardly  obtained  a 
foothold  in  France. 


THE  UPRIGHT  PIAXO 


00 


Germany  began  the  manufacture  of  ui)right  pianos  in  prefer- 
ence to  tlie  square  about  1835,  and  discarded  tiie  sc^uare  for  good 
about  1860.  During  this  period  the  Germans,  true  to  their  national 
character,  built  much  stronger,  heavier  uprights,  than  either  the 
French  or  English,  using  three  strings  for  each  note  and  applying 
iron  plates  for  hitch-pins,  also  iron  braces  between  these  plates 
and  the  wrest  i)lank.  The  tone  of  the  Geniiaii  ui)rights  of  those 
days  had  greater  volume  than  the  instruments  of  their 
contemporaries. 

The  later  imjiortant  export  of  German  i)ianos  had  its  start  at 
that  time  because  of  the  sui)erior  quality  of  tone  and  great  dura- 
bility of  the  instruments.  When  the  American  makers  began  to 
pay  attention  again  to  the  u])right  ])iano  about  1800  they  adopted 


Cunuvcr  Bros."   L'piiyhl   Iiuu   i'laiui',   l^^j 


56  PIANOS  AND  THEIR  MAKERS 

the  now  perfected  system  of  overstrung  scale  and  full  iron  frame, 
and  thereby  j^roduced  an  instrument  which  was  acceptable,  although 
in  tone  and  touch  inferior  to  the  best  square  pianos. 

Germany  was  quick  in  adopting  the  overstrung  scale  and  iron 
frame  for  its  upright  pianos  and  forced  England  to  do  likewise 
later  on  by  capturing  with  their  superior  instruments  much  foreign 
trade  formerly  monopolized  by  England,  while  France,  Italy  and 
Spain  came  in  last.  By  the  time  that  the  American  square  piano 
became  extinct  (1880)  the  "  American  System  "  was  universally 
adopted  for  upright  pianos.  However,  even  the  upright  piano  of 
to-day  might  still  be  called  "  a  remarkable  bundle  of  inventions." 
In  its  entirety  it  is  an  open  defiance  of  all  the  laws  of  acoustics  and 
of  proper  mechanical  construction. 

Because  of  the  necessarily  heavy,  clumsy  frame  construction 
the  soundboard  is  almost  boxed  in  between  back  and  front,  so  that 
the  sound  cannot  develop  freely  and  fully.  Whatever  tone  the  per- 
former gets  from  the  upright  piano,  comes  straight  toward  him 
through  the  closed-in  front,  which  "  short-stops  "  the  sound.  The 
touch  in  the  upright  is  tough,  non-elastic,  because  of  the  necessarily 
short  and  consequently  rigid,  stiff  keys,  but  mainly  on  account  of 
the  complicated  action,  which  has  of  necessity  a  strip  and  a  spring- 
to  pull  and  push  the  hammer  back  to  its  natural  position  after  strik- 
ing. In  striking  the  string  from  above  the  hammer  virtually  throws 
the  tone  into  the  piano  with  no  chance  to  escape,  while  in  the  open 
square  or  grand  pianoforte  it  travels  unhampered.  The  upright 
has  always  been  a  makeshift,  a  child  of  necessity,  and  for  many 
years  a  total  failure. 

In  spite  of  its  present,  so  much  improved  form  and  character, 
the  upright  will  never  be  the  piano  for  the  artist,  because  of  its 
incapacity  to  give  any  satisfaction  to  artistic  temperament,  either 
as  to  tone  or  facility  in  execution. 

That  the  upright  piano  is  to-day,  and  perhaps  always  will  be,  the 
most  popular  instrument,  notwithstanding  its  many  shortcomings, 


THE  GRAND  PIANO  57 

can  be  easily  explained.  The  growth  of  the  cities  has  made  land 
so  dear  that  the  study  for  architects  has  been  how  to  house  as 
many  people  as  possible  on  a  small  piece  of  ground.  Paris  started 
the  first  so-called  apartment  houses  in  the  beginning  of  the  19th 
century.  Hence  the  Paris  piano  makers  were  compelled  to  develop 
upright  pianos  small  enough  to  fit  into  the  small  rooms  of  the  apart- 
ment house,  where  grand  or  square  pianos  could  not  i)Ossibly  be 
placed.  Germany  followed  French  architecture  next ;  England  fol- 
lowed soon  after;  and  since  about  1880  we  have  had  apartment 
houses  in  American  cities,  mainly  with  such  small  rooms  that 
neither  a  grand  nor  square  piano  can  be  placed  conveniently. 
Besides  the  more  convenient  form  of  the  upright  the  lower  cost,  as 
compared  to  the  cost  of  a  grand  piano,  is  a  strong  factor  in  its 
popularity.  However,  the  demand  for  the  "  perfect  "  pianoforte 
is  increasing  so  rapidly  and  strongly  that  the  foremost  makers  all 
over  the  world  have  for  many  years,  and  with  varied  success,  ex- 
perimented to  produce  a  small  grand  piano  which  in  size  and  price 
would  be  accepted  by  the  lover  of  music. 


The  Grand  Piano  or  Forte  Piano 

As  previously  stated  this  "  wing  "  form  sooms  to  have  been 
used  first  by  Geronimo  (lo-l)  and  has  ever  since  been  preferred 
by  all  artistic  makers  in  their  efforts  to  ])roduce  a  piano  for  the 
concert  hall,  for  the  artist.  The  s(iuare  piano  was  born  of  English 
commercialism,  the  upright  i)iano  started  its  career  of  success 
under  pressure  of  the  apartment  house,  but  the  grand  piano  has 
ever  been  the  love  of  the  artistic  i)iano  maker  and  the  musical 
piano  player.  The  large  size,  the  natural,  horizontal  position  of 
the  strings,  the  opportunity  of  using  a  forceful  action,  answering 
at  the  same  time  to  the  most  refined  pianissimo  touch — an  action 
permitting  a  development  upon  scientifically  and  mechanically  cor- 


58  PIANOS  AND  THEIR  MAKERS 

reet  lines — has  ever  been  enticing  to  the  inventive  genius  and  to 
the  thinking  constructor  of  pianofortes.  AVe  therefore  find  all  the 
early  pianofortes  of  Christofori,  Silbermann,  Stein  and  other 
makers  possessing  this  wing  form. 

The  craze  of  adding  all  sorts  of  unharmonic  effects  to  keyed 
instruments,  as  on  the  harpsichord,  continued  also  for  a  while  with 
the  grand  piano,  and  we  hear  of  instruments  having  bell,  drum, 
cymbal,  triangle,  etc.,  attachments.  These  vagaries,  however,  were 
not  accepted  by  the  true  artist  and  soon  died  out.  The  extent  to 
which  this  craze  was  finally  carried  is  illustrated  by  the  descrip- 
tion of  a  grand  piano  built  in  1796  by  Still  Brothers  of  Prague, 
Bohemia,  for  the  inventor,  a  musician  by  the  name  of  Kunz.  This 
monstrosity  had  230  strings,  360  pipes  and  105  different  tonal 
effects.  It  was  three  feet  nine  inches  high,  seven  feet  six  inches 
long  and  three  feet  two  inches  wide,  had  two  keyboards,  one  above 
the  other,  and  25  pedals.  The  pedals  had  the  following  functions : 
To  lift  the  dampers,  to  produce  lute  effect,  flute,  flute  traverso  dul- 
ciana,  salicet,  viola  di  gamba,  sifflet,  open  flute,  hollow  flute,  fagott, 
French  horn,  clarinet  and  many  others.  The  inventor  evidently 
attempted  to  obtain,  besides  the  ordinary  piano  tone,  also  all  kinds 
of  organ  and  orchestral  effects,  noisy  additions  which  we  find  to 
a  smaller  extent  with  the  nickel-in-the-slot  playing  machines  of 
to-day. 

The  perfecting  of  the  grand  piano,  or  forte  piano  {fit gel,  as 
it  was  called  in  Germany),  depended  entirely  upon  the  develop- 
ment of  an  action  capable  of  bringing  out  the  greater  tone  of 
the  longer  strings  and  larger  soundboard  of  the  grand,  and  we 
find  the  masters  of  the  English  and  German  schools  for  many 
years  seriously  engaged  in  solving  this  problem,  to  be  finally  out- 
classed by  Sebastian  and  Pierre  Erard,  of  Paris.  Backers' 
grand    action,    completed    about    1776,    inspired    Robert     Stod- 


THE  GRAXD  PIAXO 


59 


art  of  London  to  build  his  first  concert  piano  wiiicli  he  called 
"  Grand  Pianoforte,"  about  1777,  and  the  word  grand  first  applied 
by  Stodart  was  henceforth  used  by  all  Klnglish  and  American 
makers  for  this  instrument, 

John  Broadwood  built  his  first  grand  in  1781.  Allen  and  Thom 
of  London  patented  a  grand  piano  having  a  complete  metal  framing 
system  in  1820,  followed  by  the  Erards  in  1823,  who  constructed 
a  grand  piano  with  six  resistance  iron  bars,  placed  over  the  sound- 
board, while  James  Broadwood  patented,  in  1827,  a  combination 
of  an  iron  string  plate  (hitch  plate)  with  resistance  iron  bars,  thus 
coming  very  near  the  full  iron  frame. 

Meantime,  Johann  Andreas  Stein,  and  his  talented  daughter, 
Xannette  Stein-Streicher,  who  was  not  only  an  excellent  musician, 
but  also  a  thoroughly  practical  and  scientific  piano  maker,  had  im- 
proved the  Schroter  action  so  materially  that  the  grand  pianos 
made  by  them  from  1780  on,  were  preferred  by  Mozart,  Beethoven 
and  other  masters,  perhaps  mainly  for  the  reason  that  this  action 
not  only  had  a  more  elastic  touch  than  the  Christofori  English 
action,  but  that  it  produced  a  more  s}Tnpathetic  tone,  reminding 
of  the  clavichord  tone,  which  all  the  great  players  of  that  period 
admired  so  much.  This  sympathetic  tone  could  only  be  produced 
with  the  Vienna  action,  because  the  hammer,  when  striking,  would 


Nannette  Stein-Streicher  Grand  Action,   17S0 


60 


PIANOS  AND  THEIR  MAKERS 


Erard's  First  Iron  Bar  Grand  Piano,  1823 


Erard  Repetition  Grand  Action,  1821 


THE  GRAND  PIAXO 


61 


to  some  extent  graze  or  draw  along  the  string,  while  the  more  force- 
ful attack  of  the  English  "  jack  "  action  is  a  straight  and  direct 
percussion.  These  two  elements,  the  pleasant  light  elastic  touch, 
and  the  charming  musical  quality  of  tone,  assured  the  Vienna  grand 
pianos  (fliigel)  supremacy  in  Germany,  Austria  and  Italy  for  many 
years. 

Since  the  "  Vienna  school  "  never  aimed  for  powerful  tone, 
during  that  period,  the  use  of  metal  for  resistance  was  not  devel- 
oped until  1837,  when  Hoxa  of  Vienna  patented  a  full  iron  frame 
for  grand  pianos. 

In  1808,  Sebastian  Erard  took  out  a  patent  for  a  "repetition  " 
action  for  grand  pianos,  in  which  he  attempted  to  combine  the 
elastic  touch  of  the  Vienna  action  with  the  forcefulness  of  the 
English  action,  but  evidently  without  satisfactory  result,  because 
in  1821  Pierre  Erard,  nephew  of  Sebastian  Erard,  obtained  for 
the  latter 's  invention  of  a  "  repetition  or  double  escapement 
action  "  a  patent  in  England.  It  is  this  action  which  made  J:he 
fame  of  the  Erard  grand  pianos  worldwide. 

Among  further  important  inventions  aiding  the  progress  of  the 
grand  piano  must  be  mentioned  Erard 's  agraffe,  by  aid  of  which 
a  bearing  down  upon  the  strings  was  accomplished,  preventing  the 
very  objectionable  upward  motion  of  the  strings 
when    struck    by    the    hammer.      These    brass 
agraffes,  besides  assuring  proper  counter  pres- 
sure against  the  stroke  of  the  hammer,  also 
improved  the  tone,  especially  in  the  treble  part. 
The  idea  of  downward  pressure  of  the  strings 
near  the  wrest  i)laiik  was  followed  up  by  other 
inventors   in   various   directions   and  manners 
and  finally  led  to  the  pressure  bar  and  capo 
tasto,  the  latter  i:)atented  by  Pierre  Erard,  in 
1838,  and  now  used  in  varied  forms  in  nearly  all 
grand  and  u^n-ight  pianos.  Capo  Ta^xo 


62 


PIANOS  AND  THEIR  MAKERS 


Chickerinff  Grand  Iron  Frame,  1843 


Turning  to  America,  we  find  that  Lond  Brothers  of  Philadelphia 
built  a  grand  piano  of  7  >2 -octaves  about  1825,  while  John  Jardine 
of  New  York  exhibited  a  7-octave  grand  piano  in  1835.  Jonas 
Chickering  patented  his  full  iron  frame  for  flat  scale  grand  pianos 
in  1843,  a  great  improvement  on  Broadwood's  combination  of  iron 
hitch  x^late  and  resisting  bars,  establishing  the  fame  of  the  Chicker- 
ing concert  grand.  Sixteen  years  later,  Steinway  &  Sons  patented 
their  full  iron  frame  for  grand  pianos  with  overstrung  scale  and 
disposition  of  the  strings  in  the  form  of  a  fan. 

After  the  London  exhibition  of  1862,  the  full  iron  frame  came 
largely  into  use  in  Germany  and  Austria,  while  England  and 
France  retained  the  plain   scale  and  bracing  system  for  many 


THE  GRAND  PIAXO 


63 


years.  At  the  present 
time  all  prominent  mak- 
ers have  adopted  the 
overstrung  scale  and  full 
iron  or  steel  frames  for 
their  grand  pianos. 

Noteworthy  progress 
has  also  been  made  in  the 
construction  of  the  case 
for  grand  i)ianos.  Fol- 
lowing the  harpsichord 
model,  the  original  grand 
case  was  ''  built  up  " 
(frame  and  braces)  by 
gluing  boards  of  one  to 
two  inches  in  thickness 
together.  To  work  out 
the  hollow  sides  and 
rounded  ends  from  the 
rough  form  thus  con- 
structed with  ordinary  jack  plane,  was  a  very  laborious  task.  Eng- 
land, at  that  time  the  land  of  machinery  ])ar  excellence,  soon 
employed  power  machines  for  case  making,  and  constructed  the 
curved  sides  and  back,  by  gkiinu'  up  hardwood  veneers  in  forms 
identical  to  the  cuivatiuc  of  the  piano  case.  This  new  process 
was  not  only  more  economic,  but  it  also  strengthened  the  case 
materially  and  was  supposed  to  increase  the  acoustic  properties. 
It  was,  therefore,  soon  generally  adopted. 

The  concert  grand  piano  of  to-day  is  a  model  of  mechanical  con- 
struction with  i)roi)er  regard  to  the  laws  of  acoustics,  as  we  know 
them  to-day  in  their  relations  to  tlie  pianoforte.  Free  from  all 
empirical  and  exi)erimental  vagaries,  the  concert  grand  piano 
of  to-dav  is  a  most  noble  instrument,  embodying  the  final  evolution 


bU'iiiuav  Liraiid   lion   FraiiK-,    iJ^J'J 


64 


PIANOS  AXD  THEIR  MAKERS 


Baldwin  Grand  Case  with  Acoustic  Rim 


-of  the  best  thoughts  of  the  greatest  masters  in  the  art  of  piano 
construction.  The  length  of  the  modern  concert  grand  is  usually 
nine  feet,  with  a  compass  of  7^  octaves,  Ludwig  Bosendorfer  of 
Vienna  builds  a  concert  grand  of  10  feet  in  length,  and  a  compass 
of  eight  octaves.  Going  to  the  other  extreme,  some  makers  have 
of  late  years  constructed  a  small  grand  as  short  as  five  feet.  Ernst 
Kaps  of  Dresden  was  the  first  to  build  a  very  short  grand  (1865), 
using  a  double  overstrung  scale.  Because  of  its  novelty  this  instru- 
ment was  for  many  years  a  com?nercial  success.  It  has,  however, 
been  established  as  a  fact  that  shortening  the  length  to  about  five 
feet  is  the  danger-line  for  the  construction  of  a  small  grand,  which 


THE  GRAND  PIAXO  65 

is  to  satisfy  the  artist  or  nmsieal  amateur,  as  to  volume  and  quality 
of  tone,  and  especially  of  a  well-balanced,  even  scale. 

The  short  grand,  baptized  by  Albert  Weber  the  ''  baby  grand," 
will  be  the  instrument  of  the  futuie.  The  clamor  for  an  increased 
fuh  round  tone,  elastic  and  easy  touch,  and  never-failing  repetition 
in  the  action  of  the  piano,  is  the  same  to-day  as  it  was  200  years 
ago,  and  must  be  satisfied.  The  upright  i)iano,  having  evidently 
reached  the  apex  of  its  possible  development,  is  unsatisfactory, 
and  hence  the  small  grand  at  moderate  price  will  find  many  friends 
among  music  lovers  who  neither  require  nor  desire  the  bulkj'  con- 
cert grand  for  their  personal  enjoyment  or  professional  studies. 


PART    ONE 


CHAPTER  III 

The  Full  Ieon  Frame,  Hawkins,  Allen  and  Thorn,  Babcock,  Chick- 
ering,  Erard,  Broadwood,  Hoxa,  Steinway. 

The  Keyboard,  Guido  of  Arezzo,  Zarlina,  Kirkman,  Krause, 
Chromatic  Keyboard,  Neuhaus,  Cludsam,  Paul  von  Janko, 
Perzina. 

The  Action,  Schroter,  Christofori,  Silbermann,  Stein,  Streicher, 
Zumpe,  Backers,  Erard,  Friederici,  Wornum,  Pleyel,  Pape. 

The  Hammer,  Christofori,  Silbermann,  Pape,  Wilke,  Kreter, 
Mathushek,  Collins,  Dolge,  Amnion,  Steinway. 

The  Soundboard,  Chladni,  Tyndall,  Helmholtz,  Hansing,  Dr.  Paul, 
Pape,  Mathushek. 


PART    ONE 

CHAPTER  III 

THE  IRON  FRAME,  THE  KEYBOARD,  ACTION,  HAMMER, 

SOUNDBOARD 

The  Iron  Frame 

IN  the  year  1808  Waclitl  &  Bleyer,  a  Vienna  firm  of  piano 
makers,  stated  in  a  i)nblication  that  the  total  tension  of  the 
strings  in  their  grand  pianos  equalled  9,000  pounds.  The 
strings  in  a  modern  grand  have  a  total  tension  of  35,000  to  40,000 
pounds. 

The  necessity  of  a  combination  of  metal  with  wood  in  piano 
construction  became  apparent  as  soon  as  the  perfected  action  per- 
mitted of  the  use  of  heavier  strings.  The  framework  had  to 
undergo  a  change  if  farther  progress  in  tone  volume  was  to  be 
made.  Numberless  experiments  were  made  with  metal  tubes  and 
bars  for  braces,  underneath  the  soundboard  as  well  as  above,  with- 
out lasting  result.  Even  the  Hawkins  full  iron  frame  of  1800 
was  a  failure,  and  history  records  many  futile  attempts  to  solve 
the  problem. 

The  first  acceptable  system  of  bracing  by  iron  tubes  was  in- 
vented by  Allen  and  Thom  of  London  in  1820.  They  sold  their 
patent  rights  to  Robert  Stodart,  who  immediately  constructed 
a  grand  pianoforte  with  this  system,  which  withstood  a  tension 
of  13,000  pounds  successfully.  Alpheus  Babcock  of  Boston 
followed  in  1825  with  the  first  full  iron  frame  for  square  pianos. 


70 


PIANOS  AND  THEIR  MAKERS 


"With  this  invention  the  era 
of  the  full  iron  frame  was  in- 
augurated. That  great  mechan- 
ical genius,  Jonas  Chickering, 
patented  in  18-13  a  full  iron 
frame  for  flat  scale  grand  pianos. 
He  demonstrated  the  practica- 
bility of  this  new  system,  and 
the  so-called  Boston  school  at 
once  followed  his  example,  using 
full  iron  frames  for  grand, 
square  and  upright  pianos. 

In  Europe,  Erard  experi- 
mented with  iron  bracing  bars 
about  1824,  putting  as  many  as 
nine  long  bars  over  the  sound- 
board of  his  grand  pianos. 
Broadwood,  more  methodical  and 
scientific,  studied  to  obtain  the 
necessary  resistance  with  as  few 
bars  as  possible,  and  finally  com- 
bined an  iron  hitch-pin  plate  with  his  cross  bars,  which  system 
was  patented  in  1827.  John  Broadwood  &  Sons  are  now  making 
grand  and  upright  pianos  with  "  barless  "  steel  frame,  a  notable 
accomplishment,  aiding  materially  in  producing  an  even  scale, 
and  also  permitting  the  soundboard  and  strings  to  ^^ibi'ate 
unhampered  and  unaffected  by  iron  cross  bars.  Another  im- 
portant effect  is  that  the  weight  of  the  piano  is  reduced  in  pro- 
portion. Hoxa  of  Vienna  is  on  record  with  a  patent  for  a  full 
iron  frame  for  grand  pianos  in  1837.  No  doubt  the  European 
makers  of  that  period  objected  to  the  full  iron  frame  because  of 
the  too  metallic  tone,  for  which  reason  the  New  York  makers  also 
were  slow  in  following  Chickering  and  the  Boston  school.     The 


Alk'ii  and  Tlioin"s  Grand  Bracing 
System,  1S20 


THE  IRON  FRAME  71 

majority  of  the  New  Yorkers  leaned  toward  the  German  school, 
seeking  quality  rather  than  volume  of  tone.  AVhen,  however,  Stein- 
way  &  Sons  demonstrated  in  1855  that  the  overstrung  system  in 
combination  with  a  solid  iron  frame,  could  yield  the  desired  volume 
of  tone  of  the  desired  musical  quality,  the  battle  for  the  iron  frame 
was  won. 

At  the  London  exhibition  of  1862  the  American  pianos  with 
full  iron  frames  were  the  sensation  of  the  entire  piano  exhibit. 
After  the  Paris  Exposition  of  1867,  where  the  much-improved 
American  overstrung  iron  frame  pianos  carried  off  the  honors,  the 
German  makers  capitulated  and  accepted  the  American  system. 
England  and  France  are  following  slowly,  but  the  universal  adop- 
tion of  this  greatest  progress  in  piano  construction  is  inevitable. 
Constant  study  and  efforts  to  improve  the  composition  of  the 
metals  for  casting,  together  with  the  progress  made  in  the  methods 
and  mechanical  appliances  for  casting  iron,  have  not  only  tended 
to  overcome  the  objectionable  influence  of  the  iron  frame  upon 
the  tone  quality,  but  the  modern  iron  frame  or  plate  is  also  in 
form  and  finish  pleasing  even  to  the  critical  eyes  of  the  artist. 

The  casting  of  iron  plates  for  pianos  is  one  of  the  most  impor- 
tant auxiliary  industries  of  the  piano  trade  of  to-day,  keeping 
pace  with  the  continual  improvement  of  the  piano.  The  average 
weight  of  plates  in  American  pianos  is  as  follows : 

Concert  Grand.  . .  .   400  pounds,     Parlor  Grand 300  pounds. 

Baby  Grand 250  pounds.     Large  Upright ....   200  pounds. 

Small  Ui)riglit 120  pounds. 

The  tension  these  i)lates  have  to  withstand  averages  as  follows: 
Concert  Grand .   60,000  pounds.     Parlor  Grand .  .   55,000  pounds, 

Baby  Grand 50,000  pounds,     Large  L^pright .   38,000  pounds, 

Small  Upright. . . .   38,000  pounds. 


<z 


PIANOS  AXD  THEIR  MAKERS 


Steinway  &  Sons'  Grand  Iron  Frame,  1875 


i-'ruiit   \'ie\v 


THE  IKON  FKAME 


73 


Steinway  &  Sons'  Grand  Iron  Frame.  1875 


I'.ack  Vii'w 
Showing  ■■  (.'iipula  '"  Coustruetiou 


74 


PIANOS  AND  THEIR  MAKERS 


Wilhelm  Grotrian's  Grand  Iron  Frame,  1910 


Baldwin  Upright  Iron  Frame,  1910 


THE  IRON  FEAME 


75 


John  Broadwood  &  Sons'  Earless  Grand  Steel  Frame,  1910 


John  Broadwood  &  Sons'  Earless  U2)right  Steel  Frame,  1910 


76 


PIANOS  AND  THEIR  MAKERS 


Mason  &  Hamlin  Grand  Iron  Frame,  I'JIO 


rJAXU  KEYBUAKDS  77 


The  Keyboard 

The  origin  of  tlie  keyboard  for  musical  instruments  cannot 
be  traced  with  any  accuracy.  Old  records  mention  a  hydraulic 
organ  invented  by  Ctesibius  of  Alexandria,  in  the  2d  century 
B.C.,  but  no  reference  is  made  to  a  keyboard  in  that  organ.  Vitru- 
vius,  in  his  work  on  architecture  (1st  century  a.d.),  describes  an 
organ  with  balanced  keys.  Next  we  learn  that  Emperor  Constan- 
tine  sent  a  musical  instrument  having  keys  to  King  Pepin  of 
France  in  757  a.d.  Whether  or  not  that  great  musical  genius, 
Guido  of  Arezzo,  invented  the  keyboard  for  a  ]iolychord  instru- 
ment or  was  the  first  one  to  apply  it,  cannot  be  jiroven,  but  the 
fact  remains  that  the  keyboard  was  applied  to  stringed  instru- 
ments in  his  days  (first  part  of  the  11th  century). 

Guido 's  diatonic  scale,  eight  full  tones  with  seven  intervals 
of  which  two  were  semitones,  was  used  in  the  first  clavichords, 
which  had  20  keys.  There  are  no  reliable  records  in  existence, 
as  to  who  applied  the  chromatic  scale  first.  Giuseppe  Zarlino 
added  the  semitones  to  his  instruments  about  1548,  but  instru- 
ments of  earlier  date  have  the  chromatic  scale,  as  for  instance 
the  clavicymliala,  some  of  which  had  77  keys  to  a  compass  of 
four  octaves.  The  keys  in  some  of  the  early  organs  were  three 
to  f(nir  inches  wide,  and  the  early  clavichords  also  had  very  wide 
keys,  but  with  the  increase  of  the  number  of  strings,  narrowing 
of  the  keys  became  a  necessity.'*' 

After  the  15th  century  nearly  all  the  makers  of  key-stringed 
instruments  used  the  chromatic  scale  practically  as  we  find  it  in 
the  modern  pianos.  The  semitones  in  most  of  those  old  instru- 
ments are  elevated  and  of  a  different  color  than  the  full  tones. 


*  Kirkiuan  of  Lomlon  went  to  tlio  oxtifuie  of  biiiMinj.'  a  jirand  jiiano  in  ISol, 
Imving  a  keyboard  of  6%  octaves,  2  feot  214  inches  wide,  allowing  only  »1,  ineli  for  each 
kev. 


PIANOS  AND  THEIR  MAKERS 


Cludsam's  Concave  Keyboard.  1910 


Since  the  development  of  the  pianoforte  many  experiments 
have  been  made  with  so-called  "  chromatic  "  keyboards,  in  which 
the  semitones  were  on  a  level  with  the  full  tones.  A  Dr.  Krause 
of  Eisenberg  constructed  a  keyboard  in  1811,  in  which  the  semi- 
tones were  not  raised  and  all  keys  were  of  the  same  color.  Krause 
maintained  that  with  such  a  keyboard  the  performer  could  play 
in  all  the  different  keys  with  more  ease  than  if  the  semitones 
were  elevated.  Although  this  innovation  was  generally  rejected, 
various  attempts  have  been  made  of  late  to  revive  this  idea,  but 
without  any  result. 

About  1780,  Xeuhaus,  a  piano  maker  of  Vienna,  constructed 
a  concave-formed  keyboard  for  his  pianos.  He  aimed  to  follow 
the  inclination  of  the  human  arm  to  move  in  a  semicircle.  Curious 
to  relate,  this  same  idea  has  lately  been  resuscitated  by  Cludsam 
of  Germany,  who  obtained  patents  on  such  a  keyboard  and  is  seri- 
ously attempting  its  introduction. 

The  most  ingenious  and  really  meritorious  invention,  revolu- 
tionary in  its  character,  is  the  keyboard  patented  in  1882  by  Paul 
von  Janko  of  Austria.  Moved  by  the  desire  to  enable  the  amateur 
to  execute  the  brilliant,  but  technically  exceedingly  difficult,  essays 
of  our  modern  composers,  Janko  constructed  a  keyboard  of  six 
tiers,  one  above  the  other,  similar  to  the  organ  keyboard.  On 
this  keyboard  tenths,  and  twelfths,  can  easily  be  produced  by  reach- 


PIANO  KEYBOARDS 


79 


Janko-Perzina  Kevhoar<l.  I'JIO 


ing  a  finger  to  the  keyboard  above  or  below  that  on  which  the 
hand  is  traveling.  Arjieggios  through  the  whole  compass  of  the 
keyboard  can  be  executed  with  a  sweep  of  the  wrist,  which  on 
the  ordinary  keyboard  would  hardly  cover  two  octaves.  Indeed, 
with  the  Janko  keyboard,  the  hand  and  arm  of  the  player  can 
always  remain  in  their  natural  position,  because  to  sound  an 
octave  requires  only  the  stretch  of  the  hand  equal  to  the  sounding 
of  the  sixth  on  the  ordinary  keyboard. 

It  is  difficult  to  realize  the  manifold  possibilities  which  this 
keyboard  opens  up  for  the  composer  and  performer.  Entirely 
new  music  can  be  written  by  comj^osers,  containing  chords,  runs 
and  arpeggios,  utterly  impossible  to  execute  on  the  ordinary  key- 
board, and  thus  does  the  Janko  keyboard  make  the  piano,  what  it 
has  often  been  called,  a  verital^le  "  house  orchestra."  It  is  not 
nearly  so  difficult  for  the  student  to  master  the  technic  of  the 
Janko,  as  to  become  efficient  on  the  present  keyboard.  This  key- 
board can  be  readily  adjusted  to  any  piano  having  the  ordinary 
action. 

Like  all  epoch-marking  innovations,  this  great  invention  is 
treated  with  indifference  and  open  opposition.  That  poetic  per- 
former on  the  piano,  Chopin,  refused  to  play  on  the  Erard  grand 
pianos   containing  the  celebrated  repetition  action,  because   his 


so 


PIANOS  AND  THEIR  MAKERS 


fingers  were  used  to  the  stiff  percussion  of  the  English  action. 
To-day,  however,  English  makers  of  concert  grand  pianos  use  the 
Erard  action  which  Chopin  disdained ! 

The  piano  virtuosos  and  teachers  of  the  present  day  are  oppos- 
ing the  Janko  keyboard  because  its  universal  adoption  would 
mean  for  them  to  forget  the  old  and  learn  the  new.  The  music 
publishers  object  to  it,  because  their  stock  on  hand  would  depre- 
ciate in  value,  as  the  Janko  keyboard  naturally  requires  different 
fingering  than  that  now  printed  with  the  pub  i shed  compositions. 
For  many  years  the  professional  piano  players  could  rightfully 
object  to  the  somewhat  unelastic  touch  of  the  Janko  keyboard. 
This  objection  has  been  completely  overcome  by  an  ingenious  im- 
provement accomplished  by  Paul  Perzina  of  Schwerin,  who 
changed  the  double  leverage  of  the  key  successfully  to  a  single 

movement  as  shown  in  il- 
lustration, assuring  the 
desired  elastic  touch.  In 
order  to  facilitate  the  at- 
tachment of  the  Janko 
keyboard,  Perzina  has  in- 
vented a  reversible  double 
key-bottom,  so  that  the 
Janko  as  well  as  the  old 
style  keyboard  can  be 
used  on  the  same  piano. 

Although  the  Janko 
keyboard,  in  its  present 
form,  is  thoroughly  prac- 
tical, and  destined  to  in- 
augurate a  new  era  for 
the  piano  industry,  its 
universal  success  and 
adoption   seem  to  be   im- 


(Ji,,^  ^^c<.^uJ\^ 


PIANO  KEYBOARDS 


81 


Perzina"s  Key   tor  Jaiiku  Keybuanl.   I'.tlO 

paired  by  the  appearance  of  the  player  piano,  which  enables  the 
musical  amateur  to  enjoy  his  own  performance  of  the  most  diffi- 
cult compositions  with  hardly  any  exertion  on  his  part.  It  remains 
for  a  coming  Titan  of  the  pianoforte  to  lift  the  Janko  keyboard 
out  of  its  obscurity  and  give  it  its  deserved  place  in  the  concert 
hall,  there  to  show  to  the  executing  amateur  its  wonderful 
possibilities. 


Perzina's  lleviTsible  Kov-bottum  fur  Two  Keyboards 


82 


PIANOS  AND  THEIR  MAKEES 


Perzina's  Action  tor  Practice  Clavier  for  Janko  Keyboard 


Perzina's  Practice  Clavier  with  Janko  Kevboard 


PIANO  ACTIONS  83 

Paul  von  Janko,  noble  of  Enyed,  was  born  June  2,  1850,  at 
Totis,  Hungary.  After  finishing  his  preparatory  studies,  he  en- 
tered both  the  Polytec'hnicum  and  the  Conservatory  of  Music,  in 
Vienna.  It  is  (luite  characteristic  of  the  dual  nature  of  the 
virtuoso-inventor  that  he  left  both  institutions  with  the  highest 
prizes  they  offer. 

He  continued  his  nnisico-mathematical  studies  at  the  Berlin 
University  under  Helmholtz.  The  innnediate  result  of  tliese 
researches  was  the  keyboard  which  bears  his  name.  From  1882 
to  188-4  he  experimented  on  an  ordinary  parlor  organ;  in  1885 
the  first  Janko  grand  piano  was  built;  and  on  March  25,  1886, 
he  gave  his  first  concert  thereon  in  Vienna. 

Paul  Perzina  of  Schwerin,  who  is  a  firm  believer  in  the  future 
of  the  Janko  keyboard,  has  constructed  a  very  ingenious  practice 
clavier  for  students.  As  shown  by  illustrations,  the  clavier  has 
the  full  keyboard  and  a  tone-producing  hammer  action.  The  ham- 
mer strikes  a  brass  reed,  producing  a  tone  similar  to  the  harp  and 
zither,  sufficiently  loud  for  the  player,  but  not  ot¥ensive  to  suffer- 
ing neighbors.  The  action  is  so  constructed  as  to  require  the 
touch  of  the  regular  piano  action.  This  practice  clavier  will  no 
doubt  aid  greatly  in  introducing  the  Janko  keyboard. 

The  Development  of  the  Piano  Aetion 

No  part  of  the  piano  has  given  the  inventor  more  food  for 
thought  and  opportunity  for  display  of  genius  than  the  action. 
The  experiments  made  are  almost  numberless  and  it  may  be  said 
that  every  thinking  })iano  maker  has  at  one  time  or  another  fallen 
victim  to  the  lure  of  "  inventing  a  new  action."  Even  the  author, 
in  his  early  days,  sent  his  hard-earned  dollars  to  Washington 
to  pay  the  fees  for  a  patent  for  an  ''  improved  upright  action." 
Fortunately  no  piano  maker  ever  embodied  this  ''  important  in- 
vention "  in  his  instruments. 


84 


PIANOS  AND  THEIR  MAKEES 


The  action  being  the  motive  power  of  the  piano,  so  to  speak, 
gave  the  restless  empiric  full  reign  for  the  most  fantastic  experi- 
ments. That  a  large  number  of  the  ablest  piano  makers  of  their 
day  should,  for  instance,  struggle  with  the  problem  of  a  down- 
ward striking  action  for  grand  pianos  seems  remarkable,  but  that 
a  genius  like  Henri  Pape  should  expend  a  fortune  in  money  and 
many  years  of  unceasing  labor  on  the  same  problem,  after  such 
masters  as  Stein,  Loud,  Sackmeister,  Hildebrand,  Streicher  and 
many  more  had  given  up  the  struggle  as  hopeless,  seems  inexpli- 
cable.* 


Loud's  Downward  Striking  Action  for  Square  or  Grand  Pianos,  1827 


Although  the  very  principle  of  the  downward  striking  of  the 
hammer  is  of  itself  contrary  to  the  law  of  gravitation,  and  as  a 
mechanical  proposition  ridiculous,  Pape  not  only  persisted  in  his 
own  efforts  but  transmitted  his  faith  in  this  action  even  to  his 


*  Willi*'  employed  by  Fred  ^lathushek  (1807-69)  the  writer  was  instructed  to 
try  and  put  12  square  pianos,  having  a  downward  striking  action,  in  salable  con- 
dition. These  instruments  had  been  built  by  Mathushek  and  for  years  rested  peacefully 
in  the  attic  of  the  factory  building.  After  wrestling  with  them  for  about  one  week 
all  hope  of  success  was  abandoned  and  the  suggestion  made  to  IMathushek  that  the 
furnace  of  the  steam  boilers  in  the  factory  was  the  most  economic  place  for  those 
pianos.     The  suggestion  was  adopted. 


PIANO  ACTIONS 


85 


pupils,  siicli  as  Matliusliek,  Stocker  of  Berlin  and  others,  who 
continued  the  liopeless  et^'orts  for  tlie  solution  of  an  impossible 
proposition.  No  doubt  the  ambition  to  invent  something  strik- 
ingly novel,  and  thus  earn  fame  as  one  of  the  great  inventors  of 
the  industry,  prompted  tliese  men  to  waste  their  talents  and  time, 
as  many  others  have  done.  In  looking  at  the  various  models  of 
these  downward  striking  actions,  we  have  only  to  regret  that  so 
much  ingenuity  was  so  hopelessly  thrown  away. 

Even  to  the  present  day  the  minds  of  constructive  piano  makers 
are  mainly  busy  with  action  improvements.  While  it  is  true  that 
since  the  simplification  of  the  Erard  action  by  Henry  Ilerz  no 
radical  changes  of  merit  can  be  recorded,  many  detail  changes  and 
improvements  have  been  made  in  the  mechanism,  which  are  in 
the  line  of  progress  and  permit  of  a  more  subtle  manipulation 
of  the  keyboard  and  pedals  than  would  be  possible  without  them. 


Steinwav  Tubular  Metallic  Actiou  Fraiuc  IStit; 


Bather  important  improvements  have  been  made  to  protect  the 
action  against  atmospheric  influences,  and  to  assure  greater  dura- 
bility in  general,  such  as  the  metal  flanges  in  upright  actions,  the 
metal  tubes  for  the  protection  of  the  wooden  rails,  and  many 
others. 

The  evolution  of  the  piano  action  has  passed  so  regularly  and 
correctly  from  stage  to  stage  that  a  Darwin  would  enjoy  the  study 
thereof.     Schroter's  hammer  action  of  1717  is  a  model  of  iuno- 


86 


PIANOS  AND  THEIR  MAKERS 


cent  simplicity.  Even  lie  had  the  notion  of  striking  the  string  from 
above  as  well  as  below.  The  drawing  for  his  down  striking  action 
shows,  however,  no  possibility  for  lifting  the  hammer  away  from 
the  string  after  striking.  It  appears  that  Schroter  depended  en- 
tirely upon  the  connterweight  of  what  might  be  called  the  hammer 
butt.  Naturally,  such  a  clumsy  device  made  the  touch  hard  and 
tough,  and  we  need  not  wonder  that  Bach  and  other  clavichord 
virtuosos  of  that  time  would  have  none  of  it. 


Joluuin  Andreas  Stein's  Action,  1780 


Cliristofori  showed  in  his  first  model  (1707)  real  mechanical 
genius.  His  jack  permitted  an  escapement,  although  faulty.  Fur- 
thermore, the  silken  cord,  interlocked  crosswise  to  catch  the  ham- 
mer shank  in  its  fall  after  striking,  was  undoubtedly  designed  to 
facilitate  repetition.  In  his  model  of  1720  he  succeeded  in  devising 
a  positive  acting  escapement  and  substituted  for  the  unreliable 
silk  cords  a  rigid  back  check  for  catching  the  hammer.  Indeed, 
Cliristofori  laid  down  all  the  laws  for  the  requirements  of  a 
pianoforte  action  in  his  model,  which  all  the  later  inventors  had 
to  observe  in  their  improvements. 


PIANO  ACTIONS 


87 


Gottfried  Silbermann  improved  the  Sehroter  action  by  doing 
away  with  the  special  escapement  lever.  He  extended  the  hammer 
butt  beyond  the  axis,  using  this  extension  for  escapement.  About 
1780  Johami  Andreas  Stein  of  Augsburg  added  to  this  the  "  hop- 
per," by  aid  of  which  the  annoying  "  blocking  "  of  the  hammer 
was  overcome,  at  the  same  time  improving  the  touch  so  much 
that  most  virtuosos  preferred  the  Schroter-Stein  action  to  the 
English. 


Joliami  Ijiipti.st  Streiclier's  Action,  1824 


The  almost  final  development  of  this  action  we  find  in  the 
model  of  a  grand  action  patented  1824  by  Joliann  Baptist 
Streicher  (a  grandson  of  Stein).  This  action  found  much  favor 
with  German  makers  and  in  modified  forms  is  still  used  by  some 
Vienna  makers.  In  spite  of  the  fact  that  masters  like  ]\[ozart  and 
Beethoven  preferred  the  Schroter-Stein  action,  it  had  to  give 
way  finally  to  the  Christofori-Backers  action.  Zumpe's  attempt 
(1776)  to  simplify  the  Christofori  cannot  be  considered  a  success. 
It  seems  that  he  merely  tried  to  produce  an  action  of  less  cost 
than  the  complicated  Christofori.     Americus  Backers,  however, 


88 


PIANOS  AND  THEIR  MAKERS 


invented  in  the  same  year  an  action  on  the  Christofori  principle 
which  combined  simplicity  with  all  the  good  points  of  the  Chris- 
tofori action.  The  Backers  invention  has  to  this  day  remained 
the  fundamental  model  for  the  English  action  in  its  various  modi- 
fications, as  illustrated  in  Broadwood's  grand  action  of  1884. 

That  independent  thinker  and  mechanical  genius,   Sebastian 
Erard,  departed  from  both  Schroter  and  Christofori,  when  he 


Erard's  Grand  Action,  1S21 


constructed  his  double  escapement  and  repetition  grand  action, 
patented  in  1821.  This  action  is  a  most  ingenious  combination  of 
the  light  elastic  touch,  characteristic  of  the  Vienna  action,  with 
the  powerful  stroke  of  the  English  action.  It  is  so  reliable  and 
precise  in  its  movements  that  it  is  undisputedly  the  action  par 
excellence  for  grand  pianos.  With  more  or  less  modifications, 
the  Erard  grand  action  is  now  used  by  all  leading  makers  of  grand 
pianos,  except,  perhaps,  Bosendorfer  of  Vienna,  who  still  prefers 
the  English  action  for  his  excellent  grand  pianos. 


PIAXO  ACTIONS 


89 


To  what  extent  thinking  piano  makers,  and  the  modern  special- 
ists, the  action  makers,  have  endeavored  to  imi)rove  tlie  original 
Erard  repetition  action,  is  sliown  ])y  the  following  illustrations, 
comprising  the  leading  models  at  present  in  use. 


Erard-Ilt'iz  (.laiul  Action,  l'ari>,  1.S5U 


I 


Steinwav  Grand  Action,  New  York.  18S4 


90 


PIANOS  AND  THEIR  MAKERS 


\Mmr!-a,Mnni<.  n-TrnTrArt  irt.iM  ■  .v    '   -^'■i.t;vi.Mi?AnjM,CT-,maii.mm.i\m-mn.mmiwi\Mn.t«an.w.mn'l 


Wessell,  Xiekel  &  Gross'  Grand  Action,  Jsew  York,  1890 


n~\ 


l^\\ 

— ^^'Sr^ 

1 

i:';iii!ihii!iii[:i\ 

y 

^' 

1 

Langer  Grand  Action,  Berlin,  1909 


Keller's  Grand  Action,  Stuttgart,  1909 


PIAXO  ACTIONS 


91 


Herrburyvi-Schwander  Grand  Action,  Paris 


Siegfried  Ilansing's  Grand  Action,  >se\v  York,   1898 


Following-  the  development  of  the  action  for  the  nin-ight 
piaiU),  we  observe  a  simihir  evohition  fi'oiu  the  crudest  device 
to  the  most  complicated  mechanism.  The  ni)right  action  of 
Friederici  (1745)  reminds  one,  as  Hipkins  so  truly  says,  of  an 
old  German  clock  movement,  and  it  is  (piite  possible  that  Friederici 
copied  it  from  a  clock.  After  Friederici  we  find  nothing  of  impor- 
tance until  the  English  ^'  sticker  "  action  appeared,  a  device  which 


92 


PIANOS  AXl)  THEIR  MAKERS 


had  nothing  else  in  its  favor  than  its  cheapness.  This  nnsatisfac- 
tory  action  was  no  doubt,  to  a  large  extent,  responsible  for  the 
unpopularity  of  the  early  upright  piano. 

Robert  Wornum  of  London  accomplished  for  the  upright  piano 
what  Sebastian  Erard  five  years  earlier  had  done  for  the  grand 
piano.  It  was  in  1826  when  AYornum  patented  his  "  piccolo  " 
upright  action,  which  has  remained  the  prototype  of  all  upright 
actions  used  at  the  present  time.  The  Wornum  action  made  the- 
upright  piano  a  practical  instrument.     Active  minds  among  the 


Friederici's  Upright  Action,  1745 


T=^ 


u 


Engli&h   Sticker  Ui)right  Action,  1820 


PIANO  ACTIONS 


\Voniuni".s  Upright  Action,  1820 


piano  makers  set  to  work  at  once  to  improve  this  epoch-making 
invention.  Ignace  Pleyel  and  Henri  Pape  of  Paris  met  with  such 
notable  results  in  their  efforts  in  this  direction  that  the  Wornum 
action  is  to  this  day  misnamed  by  most  piano  makers  the 
"  French  "  action.  Perhaps  it  was  called  thus  also  for  the  reason 
that  Paris  was  first  in  having  establishments  that  made  a  specialty 
of  producing  actions  for  the  piano  trade.  Their  product  was  of 
such  excellent  quality  that  it  was  soon  exported  to  Germany,  Italy, 
Spain,  Scandinavia,  etc.,  and  the  piano  manufacturers  advertised 
that  they  had  "  French,"  that  is,  Paris  made,  actions  in  tlioir 
pianos. 

The  extent  to  which  the  Wornum  action  has  been  develoi)ed  and 
improved  at  the  present  day  can  be  observed  by  the  following 
illustrations : 


94 


PIANOS  AND  THEIR  MAKERS 


Brinsmead  Up-right  Action 


PIANO  ACTIONS 


95 


Langer  Upright  Action 


llcrrburger  ;5ch\vuiuler  Upright  Acliou 


96 


PIANOS  AND  THEIK  MAKERS 


Seaverns  Upright  Action 
Showing  Metal  Flange 


Wessell,  Nickel  &  Gross'  Upright  Action 


PIAXO  HAMMERS 


97 


Development  of  the  Piano  Hammer 

The  hammer  used  by  C'hristot'ori,  hjilljermann  and  other  early 
makers  consisted  of  a  small  wooden  b'ock  covered  with  soft 
leather.  With  the  increase  of  tone  volume  the  hammer  had  to 
undergo  changes  and  we  soon  find  hainmci's  having  instead  of 
the  block  form  a  longer  wedge  form,  tapering  toward  the  to}).  To 
assure  firmness,  this  wedge-like  molding  was  first  covered  with 
a  piece  of  firm  sole  leather,  over  which  a  soft  piece  of  sheepskin 
was  glued.    Xext  we  find  larger  hammers  in  which  the  foundation 


Christofori  Hammer 


Hammers  Covered  with  Leather 


over  the  wooden  molding  was  a  piece  of  very  hard  sole  leather 
a  quarter  of  an  inch  thick,  followed  by  a  medium  firm  elkskin 
covering  and  topped  off  with  a  covering  of  very  soft,  specially 
prepared  deer  or  buckskin. 

The  art  in  hammer  making  has  ever  been  to  obtain  a  solid,  firm 
foundation,  graduating  in  softness  and  elasticity  toward  the  top 
surface,  which  latter  has  to  be  silky  and  elastic  in  order  to  produce 
a  mild,  soft  tone  for  pianissimo  playing,  but  with  sufficient  resist- 
ance back  of  it  to  permit  the  hard  blow  of  fortissimo  playing. 
AVhen  the  iron  frame  i)ermitted  the  use  of  heavier  strings,  the 
leather  hammer  proved  insufficient,  and  we  find  Alpheus  Babcock, 


98 


PIANOS  AND  THEIR  MAKERS 


of  Boston,  taking  out  a  patent  in  1833  on  a  hammer  covered  with 
felt.  Two  years  later,  P.  F,  Fischer  of  London  (a  friend  of 
Henri  Pape)  obtained  an  English  patent  for  piano  hammer  felt. 
It  is  surmised  that  this  patent  is  really  for  an  invention  of  Henri 
Pape  of  Paris,  who  at  that  time  experimented  with  hair  felt  for 
hammer  covering,  cutting  up  soft  beaver  hats  for  that  purpose. 

Getting  very  good  results  therewith,  but  not  being  able  to  slice 
this  hairy  hat  felt  thin  enough  for  the  treble  hammers,  Pape  in- 
duced a  hatter  to  make  a  hair  felt  in  sheets  tapering  from  a  quar- 
ter of  an  inch  to  one-sixteenth  of  an  inch  thick.  Pape  in  1839  ex- 
hibited pianos  having  hammers  covered  with  such  felt,  and  it  seems 
that  the  credit  for  the  invention  of  tapered  hammer  felt  belongs  to 
Pape. 


# 


Hammers  Covered  with  Leather  and  Felt 


We  now  find  the  following  combination  in  the  hand-made  ham- 
mers of  those  days :  Directly  over  the  wooden  head,  a  covering 
of  hard  sole  leather,  then  elkskin,  and  over  that  a  covering  of 
hair  or  wool  felt  up  to  about  the  last  two  treble  octaves,  which 
were  covered  with  buckskin.  The  elkskin  was  soon  replaced  by 
a  firm  felt  called  underfelt,  which  was  not  only  more  economical, 
but  also  firmer  than  elkskin,  possessing  the  required  elasticity. 


PIANO  HAMMERS 


99 


Gradually  the  sole  leather  was  replaced  by  another  underfelt,  so 
that  we  now  liave  the  entire  hammer  made  of  three  thicknesses 
of  felt,  each  layer  of  its  required  firmness.  The  use  of  deerskin 
as  a  covering  for  the  last  two  or  three  octaves  was  continued,  espe- 
cially in  square  pianos  which  had  only  two  strings,  more  for  pro- 
tection, however,  than  for  tone  results.  Felt  making  had  not 
advanced  sufficiently  to  produce  a  material  so  closely  interknitted 
as  to  withstand  the  cutting  of  the  wires  on  the  thinly  covered 
treble  hammers. 

The  ever-increasing  thickness  of  the  strings,  to  produce  greater 
volume  of  tone,  necessitated  a  more  forceful  hammer  than  could 
be  produced  by  the  hand-made  method,  and  many  attempts  were 
made  to  construct  machines  for  gluing  the  felt   to  the  wooden 
head.     About  1835  Wilke,  piano  maker  at  Breslau,  invented  a 
machine  in  which  a  full  set  of  hammers  could  be  covered  with 
felt  at  one  time.     It  seems  that  hammers  made  on  this  machine 
were  not  considered  as  good  as  the  hand-made,  because  nearly 
all  European  makers  continued  the  hand  method  until  about  18(57, 
when  the  American  pianos,  shown  at  the  Paris  exposition,  made 
a  lasting  impression.    In  America  two  in- 
ventors   patented    hammer-covering    ma-  ,.-u.'^""''^-- 
chines   in   1850.     Kudolf  Kreter   of  New        /^' 
York  patented  a  most  ingenious  but  very 
complicated  machine.     Its  main  fault  was 
that,  because  of  manifold  attached  springs 
and  levers,  it  was  impossible  to  use  felt 
over  half  an  inch  thick,  and  the  cry  was 
for  a  larger,  heavier  hammer.     This  ma- 
chine,  which    had    many   elements   of   the 
present  hammer-covering  machines,  came 
into  possession  of  Alfred  Dolge  in  1871, 
who  later  on  sold  it  as  a  curiositv  to  Brooks         .,   , .     ,,        ,  „  ,, 

Machine-Covered  telt 
of  London.  Hammer,  1S71 


100 


PIANOS  AND  THEIR  MAKERS 


Frederick  Matliiisliek's  patent  of  1850  was  for  a  hammer-cover- 
ing machine  of  much  simpler  construction  tlian  Kreter's.  It  was 
patterned  after  the  AVilke  machine,  the  frame  built  of  wood,  with 
10  iron  screws,  five  each  for  down  and  side  pressure.  About  1863 
Benjamin  Collins,  a  piano  and  hammer  maker  of  Boston,  came 
out  with  an  improvement  on  the  Kreter  machine.  In  Kreter's 
as  well  as  Mathushek's  machine,  the  covered  hannner  had  to  stay 
in  the  machine  until  the  glue  had  thoroughly  hardened.  Collins, 
taking  Kreter's  iron  frame  machine  as  a  pattern,  changed  it  so 
that  the  caul  or  form  into  which  the  hammer  is  pressed  could 
be  locked,  after  the  felt  was  glued  on,  and  the  caul  with  the  ham- 
mers removed  from  the  machine  in  order  to  repeat  the  operation 
with  another  set.  But  even  Collins'  machine,  like  others,  was  too 
light  in  construction  to  make  the  heavy  hammers  demanded  for 


Dolge  Ilamnier-Covering'  ^laehine,   1887 


PIAXO  IIAMMEKS 


101 


Dolwe  Hammer-Coveriii":  ^Licliine.  1SS7 


the  large  concert  grand  pianos.  Most  makers  increased  the 
strength  of  the  Mathushek  machine,  which  was  generally  adopted 
because  of  its  simplicity,  but  it  was  very  difficult  to  produce  the 
desired  pointed  hammer  with  the  thicker  felt  required. 

In  1887  Alfred  Dolge  patented  an  imi)roved  hammer-covering 
machine,  built  upon  the  i)rinci})le  of  drawing  the  felt  ujtward,  l)y 
the  aid  of  an  inclined  plane  on  which  the  side  cauls  travel.  This 
princiiDle  and  the  ease  with  which  great  pressure  can  be  brought 
to  bear  with  less  physical  exertion,  as  compared  to  the  old  style 
machine,  has  made  this  Dolge  machine  very  popular.  Undergoing 
more  or  less  changes  this  machine  is  now  in  use  in  most  of  the 
prominent  shops  and  factories.  With  the  use  of  the  heavier  cover- 
ing machine,  the  so-called  "  single  coat  "  hammer  made  its  ap- 
pearance. The  il  hist  rations  show  a  single  coat  grand  hammer 
made  on  the  Dolge  machine  from  felt  one  and  one-half  inches  thick, 
and  an  ujjright  hammer  made  of  felt  one  and  one-fourth  inches 
thick. 


102 


PIANOS  AND  THEIR  MAKERS 


Single  Coat  Felt  Hammer  for  Grand 
Pianos 


Single  Coat  Felt  Hammer  for  Upright 
Pianos 


Opinions  differ  very  much  as  to  tlie  value  of  single  coat  ham- 
mers, considering  their  increased  cost,  in  comparison  with  the 
double  coat.  The  latter  is  universally  used  at  present,  single  coat 
being  the  exception.  As  far  back  as  1873  the  author  made,  in  his 
factories  at  Dolgeville,  N.  Y.,  for  Steinway  &  Sons,  hammer  felt 
one  and  three-fourth  inches  thick  in  bass  and  weighing  22  pounds 
to  a  sheet,  which  measured  36  inches  wide  and  43  inches  long.  This 
extraordinary  thick  felt  was  used  for  concert  grand  piano  ham- 
mers, and  although  splendid  results  were  achieved,  the  heavy 
hammer  affected  the  touch  too  much.  It  is  now  generally  agreed 
that  felt  weighing  17  to  18  pounds  to  a  sheet  is  sufficiently  heavy 
for  grand  hammers,  and  13  to  14  pounds  is  the  usual  weight  of 
felt  used  for  upright  hammers. 

While  the  modern  hammer-covering  machine  does  turn  out  a 
much  more  uniform  hammer  all  through  the  scale  than  could  pos- 


PIANO  HAMMERS 


103 


sibly  he  produced  by  the  best  artisan  by  tlie  liaiuhnade  method, 
further  progress  and  improvements  are  necessary  in  order  to 
l)roduce  a  perfect  hanmier  which  will  re<|uire  less  neethe  work 
on  the  part  of  the  voicer  or  tone  regulator.  AVitli  the  jn-esent 
machines,  the  operator  has  no  control  of  the  ]iressure  exercised; 
he  does  not  know  but  has  to  guess  whether  tlie  felt  is  pressed 
down  sufficiently  or  not.  The  rigidness  of  the  covering  machine 
does  not  permit  of  any  variation  in  i)ressure  to  be  used,  so  neces- 
sary on  account  of  the  uneven  texture  of  the  felt.  The  author  has 
given  this  subject  most  serious  thought  for  the  past  forty  years, 
and  has  made  many  costly  experiments,  which  finally  culminated 
in  the  construction  of  a   macliine  as   shown  in   the   illustration. 


Dolge-GardiuT  (.oniprosisod  Air  llainmcr-Covoiing  ^lacliine.  I'.tlO 


Compressed  air  is  used,  and  the  required  pressure  can  be  gauged 
to  a  nicety  and  regulated  as  the  texture  of  the  felt  or  firmness 
retjuired  by  the  piano  maker  may  dictate.  Having  three  inde- 
pendent cylinders,  more  or  less  pressure  can  be  ajiplied,  as  may 
be  desirable,  at  either  section  of  the  set  of  hannners.     Martin 


104 


PIANOS  AND  THEIR  MAKERS 


Gardner,  for  years  master  mechanic  in  the  Alfred  Dolge  Felt 
Company  factories,  Dolgeville,  CaL,  built  this  machine  under  the 
author's  instruction  and  supervision,  and  designed  and  originated 
many  important  detail  improvements.  Similar  to  the  Collins 
machine,  the  cauls  are  removable  after  the  felt  is  glued  on  to  the 
molding,  and  it  is  estimated  that  two  expert  gluers  can  cover 
about  two  hundred  and  forty  set  of  hammers  in  ten  hours  on  one 
machine,  While  speed  and  saving  of  floor  space  are  desirable 
in  modern  manufacturing,  the  main  object  sought  for  in  this 
machine  is  the  production  of  a  hammer  having  an  even  gradation 
in  texture.  It  is  entirely  within  the  control  of  the  operator  to 
give  the  hammer  any  desired  degree  of  firmness  with  this 
machine. 

Exhaustive  experiments  wliich  the  author  has  made  during  the 
past  thirty  years  in  the  construction  of  automatic  hammer-cover- 
ing machines,  to  be  operated  by  steam  or  hydraulic  power,  have 
led  to  the  conclusion  that  compressed  air  is  preferable  in  every 
respect,  because  the  cylinders  are  instantly  and  independently 
controlled  by  a  turn  of  a  valve. 

Mention  must  be  made  of  a  patent  ob- 
tained in  1893  by  John  Amnion,  a  New  York 
piano  maker,  for  a  process  of  gluing  a  strip 
of  tapered  hammer  felt  together  and  then 
inserting  the  same  into  a  wooden  hammer 
head,  having  two  prongs  on  top.  Amnion's 
motive  was  to  economize  felt.  It  does  require 
much  less  felt  by  Amnion's  method  than  glu- 
ing the  felt  around  the  molding,  but  the  ham- 
mer designed  by  Ammon  is  utterly  imprac- 
ticable for  many  reasons,  principally  because 
it  is  impossible  to  get  the  treble  hammers  of 
sufficient    firmness    to   produce    a    satisfactory 

tone.  Amnion  Hammer 


PIANO  HAM:\rERS 


105 


Alfred  l)oI.^e  saw  in  Ammon's  invention  the  embryo  of  a  ham- 
mer which  might,  to  a  considerable  extent,  solve  the  vexing  prob- 
lem of  preventing  the  flattening  out  of  the  hammer  through  usage. 
It  is  impossible  to  ])roduce  a  well  pointed  hammer  with  the  present 
method  of  hammer  covering,  even  if  the  felt  is  forced  into  a  sharply 
pointed  mold  of  the  covering  machine.  The  hammer  will  invari- 
ably flatten  out  when  it  comes  under  the  needle  of  the  voicer  or 
tone  regulator  and,  of  course,  much  more  so  through  striking  the 
strings,  because  it  has  no  bracing  or  support  of  any  kind  and 
can  give  way  freely.  Conseciuently,  after  short  usage,  all  felt  ham- 
mers show  a  flat  surface  on  toj),  so  inimical  to  good  tone  produc- 
tion. To  combat  this  flattening  out  of  the  hammers  Steinway  & 
Sons  saturate  the  felt  about  half-way  up  with  a  chemical  solu- 
tion, which  finally  hardens  that  part  of  the  felt  sufficiently  to 
check  the  flattening  out  to  some  extent.  This  led  the  author 
to  the  idea  of  making  a  hammer  molding  in  which  the  upper 
half  is  s])lit  open  by  a  saw-kerf,  thus  obtaining  two  prongs  which 
are    shaped    by    the    ordinary    wood-steaming    process    into    a 


IS 


Steinway  Saturated  Hammer 


Molding  for  Aiiinioii-Dolgc 
Hammer 


Ammon-Dok'o  Hammer 


106  PIANOS  AND  THEIR  MAKEKS 

clasp.  The  clasp-like  prongs  reach  beyond  the  center  of  the 
glued-up  felt.  As  shown  in  the  illustration,  the  felt  is  forced 
into  the  clasp  and  then  secured  by  a  metal  agraffe,  passing 
through  both  prongs  of  the  clasp,  tightening  the  prongs  so 
firmly  on  the  felt  that  a  flattening  out  of  the  felt  is  impossible, 
except  through  its  wearing  off.  It  is  readily  perceivable  that  the 
foundation  of  the  hammer  so  constructed  must  be  of  a  firmness 
and  solidity  not  attainable  by  the  old  method  of  covering.  Not 
only  that  the  center  part  of  the  felt  is  glued  together  very  tightly, 
but  the  felt  itself  is  pressed  between  the  firm  shoulders  of  the 
clasp,  thus  becoming  one  solid  body  with  the  wooden  head.  The 
author  had  a  grand  piano  containing  such  hammers  at  his  home, 
and  although  his  five  boys  used  this  piano  almost  daily  for  their 
pratice  for  several  years,  the  hammers  showed  very  little  usage 
and  wear.  It  is,  of  course,  important  that  only  the  very  best, 
most  densely  interknitted  felt,  should  be  used  for  hammers  of 
this  type.  Instead  of  reducing  the  cost,  as  Amnion  intended,  the 
improved  hammer  of  this  type  costs  fully  twenty-five  per  cent, 
more  to  produce  than  the  ordinary.  The  author  is  of  the  opinion 
that  this  improvement  in  hammer  making  will  finally  prevail, 
especially  since  much  greater  durability  is  required  for  the  ham- 
mers in  the  self-playing  piano  than  the  present  form  of  construc- 
tion admits  of. 

The  Soundboard 

The  science  of  acoustics  as  developed  by  Chladny,  Tyndall, 
Helmholtz,  and  in  its  direct  relation  to  the  piano,  especially  by 
Siegfried  Hansing,  has  given  us  much  enlightenment  as  to  the 
proper  and  correct  laying  out  of  a  scale,  also  the  laws  controlling 
the  production  of  sound  by  percussion  and  otherwise,  but  none 
of  these  scientists  can  advise  as  to  the  scientifically  correct  con- 
struction of  the  soundboard.    The  much  coddled  theory  of  "  tone 


SOUNDBOARDS  107 

waves  "  found  its  most  obstinate  opponent  in  the  soundboard  of 
the  pianoforte,  disproving  forcibly  almost  every  argument  brought 
forward  in  favor  of  this  theory.  Xot  finding  any  assistance  from 
scientists,  the  piano  maker  had  to  rely  entirely  upon  empiric  ex- 
periments, to  construct  a  soundboard  best  adapted  to  his  scale. 
All  the  experiments,  and  their  names  are  legion,  ended  in  coming 
back  to  the  plain  soundboard  as  constructed  by  the  clavichord  and 
harpsichord  makers  of  the  early  days,  namely,  a  board  of  as  large 
a  size  as  the  case  of  the  piano  would  permit,  made  of  the  best 
quality  of  well-seasoned  fir,  strengthened  by  bars  or  ribs  glued 
on  crossways.  The  various  writers  on  piano  construction  differ 
materially  regarding  the  imi)ortance  of  the  soundboard  in  relation 
to  tone  development  in  the  piano.  The  careful  and  learned  Dr. 
Oscar  Paul,  laboring  under  the  ban  of  the  "  wave  theory,"  insists 
that  the  soundboard  is  the  very  soul  of  the  piano  and  that 
tone  quality  as  well  as  volume  depend  altogether  upon  its  con- 
struction. Indeed,  he  holds  that  the  tone  is  produced  by  the  sound- 
board and  not  by  the  string. 

Siegfried  Hansing  in  his  book  "  The  Pianoforte  and  Its 
Acoustic  Properties,"  shows  the  fallacy  of  this  contention  beyond 
contradiction.  He  bases  his  argument  on  Pellisow's  proven  doc- 
trine that  the  ear  does  not  perceive  sound  through  so-called  tone 
waves,  but  because  of  the  shock  or  jolt  by  which  the  sound  is 
created.  Conse<|uently,  Hansing  looks  upon  the  soundboard  as 
a  drum,  upon  which  the  vibrations  of  the  strings,  caused  by  the 
striking  of  the  hammer,  are  delivered  as  shocks  or  jolts. 

Hansing  disclaims  the  existence  of  the  ear  harp,  assumed  by 
Helmholtz  and  others,  as  an  impossibility  and  maintains  that  the 
ear  is  an  apparatus  to  measure  the  intervals  between  shocks,  dis- 
tinguishing the  higher  tones  by  their  shorter,  and  the  lower  tones 
by  their  longer,  intervals.  He  does  not  believe  that  a  properly 
constructed  soundboard  ever  has  any  transverse  vibrations  which 
affect  the  tone,  as  demonstrated  by  the  successful  experiments  of 


108  PIANOS  AND  THEIR  MAKERS 

Matliushek  and  Moser,  whose  double  soundboards  were  glued  to- 
gether so  that  the  grain  of  the  one  crossed  the  grain  of  the  other 
at  right  angles.  This  method  of  construction  makes  any  transverse 
vibration  impossible,  and  instruments  containing  such  boards  are 
not  inferior  in  volume  and  quality  of  tone  to  any  other. 

Hansing  thus  proves  that  the  soundboard  does  not  give  forth 
sounds,  but  that  it  only  augments  and  transmits  the  sound  origi- 
nating with  the  string,  through  a  tremor,  which  is  the  effect  of 
the  motion  producing  the  sound;  namely,  the  percussion  of  the 
string  by  the  hammer.  This  important  discovery  will  assist  mate- 
rially in  the  further  search  for  soundboard  improvements,  but 
even  Hansing  admits  that  for  the  present  the  piano  constructor 
has  to  rely  on  empiric  experiments  for  final  results. 

To  mention  a  few  of  the  most  telling  experiments  made  to  im- 
prove the  efficiency  of  the  soundboard,  we  find  Jacob  Goll  of 
Vienna  using  iron  and  copper  with  reasonable  success  in  1823; 
but,  no  doubt,  the  primitive  conditions  of  the  metal  industries  of 
those  days  made  the  use  of  metal  too  expensive,  as  compared  to 
wood.  Henri  Pape  of  Paris,  that  king  of  piano  empirics,  experi- 
mented not  only  with  all  kinds  of  wood  and  metal,  but  tried  even 
parchment.  All  these  materials  transmitted  the  sound  of  the 
strings,  except  the  parchment,  which  proved  totally  unfit  for  use 
in  the  treble  sections. 

During  the  writer's  engagement  with  the  Mathushek  factory 
in  1867-69,  exhaustive  experiments  were  made  to  find  the  most 
responsive  thickness  for  a  soundboard.  With  boards  from  fully 
one  inch  in  thickness,  without  ribs,  graduated  down  to  boards  only 
three-sixteenths  of  an  inch  thick  in  treble,  and  with  proportionately 
heavy  ribs,  numberless  tests  were  made.  Cui'ious  to  relate,  all  of 
the  pianos  had  a  satisfactory  tone,  differing,  of  course,  in  quality. 
The  thick  boards  responded  with  a  thick,  somewhat  stiff,  woody 
quality,  the  pianos  with  the  thinner  boards  had  a  more  sympa- 
thetic, soulful,  but  weaker  tone.    The  most  satisfactory  tone  quality 


SOUNDBOARDS  109 

was  found  in  the  pianos  which  had  the  "  regidation  "  soundboard, 
three-eighths  of  an  incli  thick  in  treble,  tapering  off  to  one-fourth 
of  an  inch  in  bass,  ribs  i)hiced  at  nearly  equal  distances  apart, 
except  in  the  last  treble  octave,  where  they  lay  somewhat  closer 
together.  These  trials  and  tests  proved  conclusively  that  the 
soundboard  does  not  produce  sound  by  aid  of  sound  waves,  but 
simply  transmits  and  augments  the  sound  i)roduced  by  the  vibra- 
tion of  the  string.  They  further  proved  that  the  soundboard  is 
not  nearly  as  much  of  a  factor  in  tone  production  as  the  string, 
the  proper  length,  thickness  and  position  of  which,  together  with 
the  most  advantageous  striking  point  for  the  hammer,  are  the 
all-important  factors  to  be  considered  in  i)iano  construction. 

Attempts  to  increase  the  volume  of  tone  by  using  double  sound- 
boards, connected  by  wooden  posts  or  otherwise,  the  imitation  of 
the  violin  or  cello  form,  carefully  worked  out  corrugated  sound- 
boards, etc.,  have  all  been  in  vain  and  are  discarded  for  good. 
Several  ingenious  devices  to  sustain  the  resistance  of  the  sound- 
board against  the  downward  pressure  of  the  strings  are  recorded. 
Among  them  Mathushek's  "  equilibre  "  system,  patented  in  1879, 
is  perhaps  the  most  scientific,  but  the  result  achieved  is  not  in 
proportion  to  the  increased  cost.  Mathushek  surmised,  what  Han- 
sing  established  as  a  scientific  fact,  that  the  soundboard  is  not 
affected  by  so-called  sound  waves,  and  when  he  discarded  his 
equilibre  system  because  of  its  high  cost,  he  returned  to  the  thick 
soundboard  without  ribs.  In  1891  he  patented  his  duplex  sound- 
board, which  is  a  combination  of  two  boards,  cross-banded  and 
glued  together.  The  boards  are  made  thickest  at  the  center  where 
the  bridge  rests,  in  order  to  withstand  the  pressure  of  the 
strings. 

On  October  2,  1900,  Richard  W.  Gertz  obtained  a  patent  for  a 
Tension  Resonator  for  Pianos,  the  purport  of  which  is  to  regulate 
the  pressure  in  the  arch  of  the  soundboard  against  the  strings 
and  to  assist  the  vibratory  efficiency  of  the  entire  soundboard, 


110 


PIANOS  AND  THEIR  MAKERS 


thereby  increasing  the  inten- 
sity of  tone  produced  by  the 
striking  of  the  hammer 
against  the  string. 

Another  function  of  this 
resonator  is  to  restore  the 
original  arched  form  of  the 
soundboard  when,  through 
age  or  atmospheric  influ- 
ences, the  same  has  given 
away  to  the  pressure  of  the 
strings. 

The  tension  rods  with  the 
conical  shaped  head,  inserted 
into  the  rim,  draw  together 
the  entire   rim  upon  which 
the  soundboard  is  fastened, 
and  force  the  latter  back  to 
its  original  arched  form,  re- 
instating and  enlivening  the 
vibratory  action  of  the  entire 
board. 
Radiating  from  the  center  of  the  piano  to  all  parts  of  the  rim 
the  tension  rods  can  be  screwed  up,  either  simultaneously  to  bring 
pressure  upon  the  entire  board,  or  individually  if  any  part  of 
the   soundboard  should  show  a  pronounced  flatness.     They  are 
furthermore  of  great  value  in  maintaining  the  correct  form  and 
shape  of  the  rim.    This  invention  has  been  applied  to  all  the  grand 
pianos  made  by  Mason  &  Hamlin  since  the  granting  of  the  patent. 
Experience  so  far  has  shown  that  the  best  material  for  sound- 
boards is  the  wood  of  the  fir  tree,  growing  in  the  mountain  regions 
of  Southern  Europe  and  North  America. 

Whether  or  not  the  development  of  the   steel  industry  will 
furnish  the  piano  maker  eventually  with  rolled  sheets  for  sound- 


Bottom  of  Grand  Piano  showing  Richard  W, 
Gertz's  Tension  Resonator 


SOUNDBOARDS 


111 


boards,  made  of  proper 
vibratory  metal,  and  in  ta- 
pered form,  is  speculative. 
It  is  not  improbable,  how- 
ever, that  the  i)iaiio  of  the 
future  may  have  a  metal 
soundboard.  We  do  know 
that  the  sound  in  the  piano 
originates  with  the  steel 
string,  and  that  it  is  only 
transmitted  by  the  sound- 
board, materially  assisted  by 
proper  construction  of  the 
wooden  frame  of  the  piano. 
AVe  also  know  that  the  iron 
frame  has  no  deleterious  in- 
fluence upon  the  tone  quality, 
and  since  all  piano  construct- 
ors are  still  seeking  for  a  clear,  bell-like,  singing  quality  of  tone, 
may  not  the  solution  be  found  in  a  soundboard  of  steel,  so  con- 
structed as  to  successfully  withstand  the  pressure  of  the  strings, 
and  to  assist  the  steel  strings  in  tone  production! 

Evidently  the  soundboard  is  the  only  part  of  the  modern  piano 
which  calls  upon  the  inventor  for  further  investigation,  on  scien- 
tific lines,  until  the  laws  are  found  upon  which  to  build  a  piano, 
not  necessarily  with  a  louder,  but  with  a  more  soulful  tone,  suck 
as  the  old  clavichord  possessed  in  limited  quantity. 


Richard  W.  Gertz's  Resonator 
View  of  Soundboard  Rim  and  Tension  Rods 


PART  ONE 

CHAPTER  IV 

The  Supply  Ixdustries,  Lumber  (old  and  new  methods  of  season- 
ing), Felt,  Wire,  Actioxs. 

Felt  Making,  Pape,  AVliiteliead,  Xaisli,  Billon,  Fortin,  Weiekert, 
Dolge. 

PiAxo  Wire,  Fuelis,  Webster  &  Horsfall,  :\[iller,  Poehlmann, 
Washburn  &  Moen,  Houghton,  Smith,  AVorld's  Fair  Tests. 

Actions,  Brooks,  Isermann,  Gehrling,  Herrburger-Schwander, 
Morgenstern  &  Kotrade,  Lexow,  Langer  &  Company,  Fritz  & 
Meyer,  Keller,  Frickinger,  Seaverns. 


PART    ONE 

CHAPTER  IV 

THE  DEVELOPMEXT  OF  THE  MANUFACTURE   OF 
PIANO  MATERIALS  AND  SUPPLIES 

PERHAPS  no  other  class  of  mannfacturmg  depends  more 
largely  upon  auxiliary  industries,  each  of  itself  of  con- 
siderable magnitude,  than  the  piano  industry.  It  is  fur- 
thermore true  that  the  piano  industry  could  not  have  made  its 
marvelous  progress,  had  not  the  auxiliary  industries  kept  pace 
with  the  inventive  piano  maker,  oftentimes  anticipating  his  wants 
and  providing  superior  material  which  permitted  the  improve- 
ment of  the  piano.  Wire  for  strings  and  felt  for  hammers  are 
two  of  the  materials  which  have  been  continually  improved  by  the 
manufacturers  in  advance  of  the  piano  maker's  demands.  It  is 
therefore  proper  that  the  development  of  the  supply  industries 
should  be  recorded  in  these  pages. 

All  inhabited  jiarts  of  the  globe  contribute,  more  or  less,  the 
raw  material  for  a  jnano.  Asia  and  Africa  supply  the  ivory  and 
ebony  for  the  keyboard.  Sweden,  England  and  America,  iron  ore 
for  strings,  pins  and  plates.  North  and  South  America,  Australia 
and  Africa,  wool  for  felts,  while  Europe,  North  and  South 
America,  the  Philippine  and  West  India  islands  supply  the  various 
kinds  of  wood. 

115 


IIG  PIANOS  AND  THEIR  MAKERS 


Wood  Used  iu  Piano  Consinictlon 

It  is  not  so  many  years  ago  since  the  i)iano  maker  of  Germany 
was  obliged  to  go  to  the  forest  and  buy  at  auction  such  logs  as 
he  might  select  for  his  purpose.  If  a  sawmill  was  near  by,  he  had 
his  logs  delivered  there,  giving  the  sawyer  special  instruction  as 
to  how  to  saw  each  log.  Oftentimes  the  logs  had  to  be  transported 
to  his  factory  yard,  where  they  had  to  be  sawed  into  planks  and 
boards  by  two  men  moving  a  big  handsaw  up  and  down,  one  man 
standing  on  top  of  the  log,  the  other  in  a  pit  under  the  log.  The 
writer  saw,  at  a  prominent  factory  in  London,  this  process  still 
in  vogue  in  1879. 

With  the  introduction  of  power-driven  woodworking  machinery, 
the  millmen  and  lumber  dealers  began  to  specialize,  and  supplied 
the  piano  maker  with  selected  boards  or  planks,  sawed  to  the  thick- 
ness and  length  required.  Receiving  the  lumber  from  the  mill, 
it  was  carefully  stacked  up  for  air  seasoning.  As  soon  as  the  sap 
had  hardened,  the  planks  were  brought  into  the  shop  and  there 
again  carefully  stacked  up  about  7  feet  from  the  floor,  to  get  the 
benefit  of  the  even  temperature  of  the  closed  room.  This  awkward 
and  slow  process  of  seasoning  lumber  after  being  air-dried  was 
done  away  with  by  the  introduction  of  the  steam-heated  dry-kiln. 
Endless  experiments  have  been  made  to  force  the  sap  out  of  the 
wood,  by  boiling,  or  using  tremendous  pressure  upon  the  lumber 
as  soon  as  it  came  from  the  saw,  in  order  to  do  away  with  the 
costly  air  drying  process,  but  none  has  turned  out  a  success  for 
lumber  to  be  used  in  pianos.  Wood  dried  so  forcedly  loses  all  its 
strength,  life  and  plia])ility,  and  since  every  i)art  of  the  piano  is 
supposed  to  assist  in  tone  production,  it  follows  that  wood 
deadened  by  forced  drying  is  unfit  for  use.  Hence,  a  well  stocked 
lumber  yard  is  to  this  date  a  positive  necessity. 


SOUNDBOARDS  117 

Some  of  the  large  piano  manulactiirers  of  America  carry  as 
much  as  three  to  five  million  square  feet  of  lumber  constantly  in 
their  yards.  A  New  York  corporation  invested  $400,000  not  long 
ago,  in  a  stock  of  hardwood  veneers  14  to  28  feet  long,  to  be  used 
for  bent  rims  on  grand  pianos,  merely  for  fear  that  such  long 
veneers  of  the  recjuired  straight  grain,  length  and  width  could 
not  often  be  found  in  the  market.  The  investment  is  considered 
a  good  one  from  a  financial  point,  since  hardwood  is  rapidly 
advancing  in  value,  far  in  excess  of  the  interest  account. 

For  the  manufacturing  of  veneers,  inventors  have  been  pro- 
lific in  devising  improved  sawing  appliances  as  well  as  rapidly- 
working  automatic  machines  for  cutting  with  knives.  An  entire 
log  can  be  placed  in  front  of  the  knives,  which  are  up  to  16  feet 
long,  and  veneers  cut  off,  as  thin  as  one  thirty-second  of  an  inch, 
continuously  until  the  log  is  used  up. 

Soundboards 

The  manufacture  of  lumber  for  soundboards  has  been  fol- 
lowed up  as  a  specialty  for  over  100  years.  The  first  specialists 
in  this  line  were  owners  of  forests  in  the  mountains  of  Bohemia 
and  Tyrol.  Instead  of  sawing  the  logs  into  boards,  they  were 
split,  like  the  old-time  American  fence  rail,  into  boards  of  about 
one  inch  thickness.  The  clavichord  or  piano  maker  of  100  years 
ago  would  not  have  thought  of  using  sawed  lumber  for  his  sound- 
boards. He  believed  in  the  theory  that  sound  waves  traveled  along 
the  grain  of  the  wood,  and  since  the  saw  would  not  follow  the 
grain,  unless  the  tree  had  grown  up  perfectly  straight  (which  no 
tree  ever  does),  the  |)iano  maker  imagined  that  the  imperceptible 
crossing  of  the  grain  by  the  saw  would  interfere  with  the  sound 
waves.  To-day,  with  a  jiroduction  of  ap])roximately  650,000  pianos 
per  year,  all  the  lumber  for  soundboards  is  sawed,  either  with 
gang  or  circular  saws,  and  the  pianos  are  better  than  ever. 


118  PIANOS  AND  THEIR  MAKERS 

The  Bohemian  and  Swiss  manufacturers  of  soundboard  lumber 
prepared  their  product  most  carefully.  After  cutting  out  all  knots, 
shakes  and  other  imperfections,  the  rough  boards  were  smoothed 
off  by  handplaning,  cut  into  lengths  of  from  4  to  8  feet  and  then 
carefully  packed  in  boxes  2  feet  wide,  containing  60  layers  each. 
Length  and  width  of  board  dictated  the  price  of  the  lumber, 
boards  8  feet  long,  4  boards  to  the  layer,  bringing  nearly  twice  as 
much  per  square  foot  as  boards  4  feet  long  and  having  5  or  6 
to  the  layer.  In  America,  soundboard  lumber  was  sold  as  it  came 
from  the  sawmill,  and  the  piano  maker  could  hardly  ever  utilize 
more  than  forty  per  cent,  of  what  he  bought. 

The  author  revolutionized  this  branch  of  the  supply  business 
by  commencing  in  1874  to  manufacture  finished  soundboards  for 
the  trade  at  his  mills  in  Dolgeville,  N.  Y.  This  innovation  was 
welcomed  by  the  piano  makers,  who  could  now  carry  a  full  stock 
of  boards  on  hand,  exposing  the  finished  board  to  a  thorough  sea- 
soning in  their  factories,  for  as  long  a  time  as  desired,  with  less 
investment  than  was  necessary  to  carry  a  sufficient  stock  of  sound- 
board lumber  in  their  yards.  I  and  my  associates  invented  a  num- 
ber of  special  devices  and  machines  for  gluing  up  and  planing  the 
entire  boards,  none  of  which  was  patented.  Among  these  machines 
the  great  cylinder  planer  with  bed  and  knives  five  feet  wide  must 
be  mentioned.  Every  builder  of  woodworking  machinery  then  in 
business  refused  to  accept  the  order  for  such  a  machine,  claiming 
that  a  width  of  three  feet  was  the  limit  of  safety  for  a  planing 
machine  cylinder.  I  constructed  a  machine  planing  five  feet  in 
width  which  was  such  a  success  that  similar  machines  are  now 
in  use  in  many  factories  of  Europe  and  America.  Two  men  can 
plane  300  soundboards  to  perfection  on  such  a  machine,  within 
10  hours,  while  it  is  an  easy  matter  to  finish  off  400  boards  per 
day  on  the  modern  cylinder  sandpapering  machine.  The  best  work- 
man could  not  finish  over  10  boards  per  day  with  a  haudplane. 


PIAXO  CASES  119 

Fully  ninet}^  per  cent,  of  the  soundboards  used  are  now  sup- 
plied to  the  piano  trade  by  concerns  making  a  specialty  of  the 
business.  The  forests  of  Bohemia  and  Tyrol  having  been  exhausted, 
the  European  makers  have  to  get  their  supply  of  lumber  from 
Galicia  and  Roumania.  In  America  the  forests  of  the  Adiron- 
dacks  and  White  Mountains  have  from  the  beginning  been  the 
source  of  supply.  Even  these  great  forests  are  passing  rapidly 
and  new  sources  of  supply  must  be  sought.  The  author,  after 
thorough  personal  investigation,  found  splendid  material  on  the 
west  coast  of  North  America,  more  particularly  in  the  mountain 
forests  of  Oregon  and  Washington,  and  consequently  started  a 
soundboard  factory  at  Los  Angeles,  Cal.,  in  1903,  supplying  not 
only  the  American  trade,  but  exporting  largely  to  Germany  also. 

The  best  soundboard  lumber  comes  from  the  mountain  districts 
of  the  temperate  zone,  at  an  altitude  of  3,000  to  5,000  feet  above 
sea,  where  timber  growth  is  thriftiest.  Trees  not  over  100  years 
of  age  are  the  most  desirable,  the  wood  being  strong  and  elastic. 
Trees  under  70  years  of  age  are  not  matured  and  have  too  much 
undeveloped  sapwood. 

Several  of  the  American  soundboard  manufacturers  are  also 
making  a  specialty  of  ribs,  bridges,  wrest  planks  and  complete 
backs  for  upright  pianos. 

Piano  Cases 

Case  making  for  the  trade  has  been  a  specialty  in  America 
for  over  50  years,  and  nearly  all  manufacturers  of  commercial 
pianos  buy  their  cases  ready  made.  It  is  readily  understood  that 
a  manufacturer  making  a  specialty  of  cases,  producing  as  many 
as  10,000  to  30,000  per  year,  can  afford  to  make  a  much  larger 
investment  for  labor-saving  machinery  and  devices  than  a  piano 
maker  who  turns  out  500  to  2,000  pianos  per  year.  The  tendency 
of  the  age  is  for  economic  specialization  in  all  branches  of  indus- 


120  PIANOS  AXD  THEIE  MAKERS 

try,  and  the  ''  compiler  "  of  the  various  ready-made  parts  of  a 
piano  does,  beyond  doubt,  produce  a  better  commercial  instrument, 
than  if  he  shoukl  attempt  to  make  each  part  of  the  piano  in  his 
own  shop. 

The  tremendous  growth  of  the  piano  industry  has,  on  the  other 
hand,  developed  individual  concerns,  which  turn  out  from  5,000 
to  20,000  pianos  per  year.  Such  firms,  of  course,  avail  themselves 
of  the  advantages  of  labor-saving  machinery  in  all  departments. 
Some  of  these  large  concerns  own  forest  lands,  have  large  saw- 
mills, and,  of  course,  make  their  own  cases,  keys  and  actions,  even 
casting  their  own  iron  plates. 

The  London  manufacturers  were  the  first  to  introduce  power- 
driven  machinery  in  their  factories.  As  far  back  as  1850,  some 
of  their  leading  firms  were  producing  from  2,000  to  3,000  pianos 
per  annum,  a  quantity  which  made  the  use  of  steam-power 
machinery  an  economic  proposition.  Machinery  is  only  economic 
when  it  can  be  continually  employed.  The  piano  maker  with  a 
limited  production  cannot  avail  himself  of  that  advantage.  Con- 
sequently, as  a  matter  of  commercial  and  industrial  evolution,  the 
specialists,  such  as  case  makers,  key  and  action  makers,  have 
become  indispensable  to  the  industry.  They  made  possible  the 
production  of  a  reliable,  satisfactory  instrument,  at  a  price  within 
the  reach  of  the  masses. 

Development  of  the  Piano  Frit  Industry 

Felt  is  a  fabric  formed  of  wool  or  hair,  or  wool  and  hair,  by 
taking  advantage  of  the  natural  tendency  of  the  fiber  to  interlace 
and  mat  together  by  aid  of  the  moisture  and  heat  during  the  con- 
tinuous process  of  rolling,  beating  and  pressure.  The  invention 
or  discovery  of  the  felting  process  dates  back  to  the  age  of  our 
cave-dwelling  ancestors,  whose  sole  wardrobe  w^as  a  sheepskin 
coat,  which  through  use  became  densely  matted.     Julius   Csesar 


PIANO  FELT  121 

organized  a  light  brigade,  which  had  felt  breastplates  as  a  pro- 
tection against  the  enemies'  weapons.  In  the  ruins  of  Pompeii 
a  complete  i)hnit  for  scouring  and  i)ressing  felts  has  been  found. 

The  first  attenii)t  at  using  machinery  for  the  jtroduction  of 
felts  was  made  in  England.  The  i)atent  granted  to  P.  F.  Fischer 
of  London,  1835,  describes  a  piano  hammer  felt,  which  is  firm  on 
one  side  and  soft  on  the  othei-,  and  made  in  sheets,  tapering  in 
thickness.  As  stated  elsewhere,  this  description  is  identical  with 
Henri  Pape's  invention,  and  can  undoubtedly  be  traced  to  him. 

Whitehead  Brothers  of  Manchester,  England,  are  said  to  be 
the  first  who  made  the  manufacturing  of  piano  hammer  felt  a  spe- 
cialty. They  were  followed  by  Billon  and  Fortin  of  Paris  and 
Weickert  (1847)  of  Leipsic,  Germany.  Xaish  of  AVilton,  England, 
started  in  1859.  These  firms  controlled  the  market  until  the  author 
started  his  factories  in  1871. 

There  are  two  essential  recj[uisites  for  a  good  piano  hammer 
felt. 

First,  it  must  be  well  felted  to  insure  wearing  quality,  because 
the  continual  pounding  of  the  hammer  against  the  steel  strings  in 
the  piano  is  liable  to  cut  the  fiber  of  the  felt  if  the  fiber  is  not 
closely  connected.  AVitli  this  thorough  felting,  however,  a  pro- 
nounced elasticity  is  indispensable,  in  order  to  enable  the  hammer 
to  rebound  quickly  from  the  string.  From  these  two  requisites 
arises  the  art  of  making  felt  for  piano  hammers, 

A  short  description  of  the  process  of  felt  making  will  interest 
many  readers.  Wool  of  the  merino  sheep,  raised  either  in  Xorth 
America  or  Cape  Colony  in  Africa,  is  best  adapted  for  hammer 
felt.  In  the  scouring  process,  the  weight  of  the  wool,  as  it  comes 
from  the  sheep's  back,  shrinks  about  seventy-five  per  cent.;  that 
is  to  say,  100  pounds  of  raw  wool  will  yield  only  25  pounds  of 
workable  wool  after  scouring.  After  the  wool  is  thoroughly  dried 
and  opened  up  by  passing  through  so-called  picker  machines,  it 


122  PIAXUS  AND  THEIR  MAKERS 

is  thoroughly  carded  and  then  formed  into  sheets.  Since  almost 
every  piano  maker  has  his  own  peculiar  notions  as  to  the  thickness 
and  tapering  of  the  felt,  there  were  no  standards  in  the  beginning 
and  the  felt  had  to  be  formed  by  hand,  putting  one  layer  of  wool 
over  the  other  as  the  tapering  would  dictate.  A  sheet  of  felt 
weighing  about  12  pounds  when  finished,  measuring  one  inch  in 
thickness  in  bass,  and  tapering  down  to  one-eighth  of  an  inch  in 
treble,  being  about  38  inches  square,  would  measure  10  inches 
in  thickness  in  bass,  one  inch  in  treble  and  be  about  54 
inches  square  before  the  felting  began.  This  unwieldy  mass 
of  wool  is  hardened  down  and  fulled,  until  the  sheet  has  shrunk 
to  the  above-mentioned  size  and  thickness.  No  chemicals  are  used 
by  any  good  felt  maker  in  the  fulling  process,  only  soap  and  hot 
water  being  applied.* 

In  1874  the  author  invented  a  jjrocess  by  which  the  wool  is 
fed  through  the  cards  in  accordance  with  a  correct  mathematical 
calculation,  so  as  to  form  on  an  apron  or  belt  the  correct  thickness 
and  taper  required.  This  apron  carries  the  carded  wool  sufficient 
for  six  full  sheets  of  felt,  making  about  100  sets  of  hammers. 

The  apron  passes  through  a  set  of  hardening  rollers,  which 
continuously  unite  each  thin  web  as  it  comes  from  the  carding  ma- 
chine, thus  assuring  a  most  positive  interknitting  of  each  layer  of 
wool  with  the  other,  and  furthermore  a  uniformity  of  taper  not 
attainable  by  the  hand-laying  process. 

The  author  received  for  his  hammer  felts  the  highest  awards 
at  the  World's  Fairs  of  Vienna,  1873;  Philadelphia,  1876;  Paris, 
1878;  and  Chicago,  1893.  The  felt  made  by  the  above  described 
process  was  preferred  by  all  the  leading  makers  of  America  and 
extensively  used  by  many  of  the  foremost  piano  makers  of  Europe. 

*  Many  piano  makers  have  the  erroneous  idea  tliat  tlie  fine  white  dust,  which 
they  observe  when  sandpapering  the  hammers,  is  composed  of  chalk.  Tlie  admixture 
of  chalk  would  almost  kill  the  fulling  process.  The  white  dust  referred  to  is  pure 
wool,  finely  ground  by  the  action  of  the  sandpaper  file  of  the  piano  maker. 


PIANO  HAMMERS  AND  WIRE  123 

The  felt  factories  founded  by  Alfred  Dolge  have  been  amalga- 
mated with  a  number  of  other  felt  factories,  producing  principally 
commercial  felts,  and  the  product  has  lost  its  identity. 

Piano  Hammer  Making 

Hammer  making  as  a  specialty  and  rising  to  the  dignity  of  an 
industry  began  in  America  with  the  invention  of  Mathushek's 
hammer-covering  machine,  in  1850.  In  England  the  handmade 
hammers  were  for  many  years  produced  as  a  house  industry. 
American  machines  (Dolge  model)  were  introduced  in  the  London 
shops  about  1880.  Germany  started  this  special  industry  about 
1845,  when  Merckel  of  Hamburg  supplied  the  action  maker  Iser- 
mann,  and  many  piano  makers,  with  handmade  hammers.  He  intro- 
duced machines  of  his  own  construction  in  1860.  Hammer-cover- 
ing machines  of  the  American  pattern  were  generally  adopted  in 
Germany  about  1870. 

In  America  hammer  covering,  especially  for  the  commercial 
pianos,  is  largely  controlled  by  the  felt  and  action  makers.  Sev- 
eral firms  make  a  specialty  of  hammer  covering,  but  all  the  larger 
piano  manufacturers  make  their  own  hammers. 

The  Piano  ^Yiye  Industry 

Records  tell  us  that  iron  wire  for  musical  instruments  was 
drawn  at  Augsburg  as  early  as  1351,  but  Fuchs  of  Nuremberg  was 
perhaps  the  first  who  made  the  manufacturing  of  piano  wire  a 
specialty,  supplying  the  clavichord  and  harpsichord  makers  of 
the  18tli  century. 

About  1820  a  Berlin  firm  succeeded  in  producing  a  wire  which 
was  soon  preferred  to  Fuchs 's  make,  to  be  again  driven  out  of 
the  market  by  Webster  &  Horsfall  of  Birmingham  who  brought 
out  their  piano  wire,  made  of  cast  steel,  in  1831. 


124  PIANOS  AND  THEIR  MAKERS 

This  cast  steel  wire  was  so  superior  to  the  iron  wire  that  the 
English  firm  soon  had  a  monopoly. 

Bnt  in  1840  Martin  Miller  of  Vienna  came  out  with  a  wire 
superior  to  AVebster's  and  a  strong  competition  began,  especially 
when  RoUason  &  Son,  Smith  &  Houghton  and  others  also  took  up 
this  industry  in  England. 

Miller's  wire  continued,  however,  to  be  in  favor  with  most 
of  the  German  piano  makers,  until  Moritz  Poehlmann  of  Nurem- 
berg started  to  make  his  world  renowned  product  about  1855.  In 
the  first  competitive  test,  Poehlmann 's  wire  proved  to  be  of  greater 
density  than  Miller's,  but  not  of  equal  tensile  strength.  Miller's 
wire  would,  however,  stretch  much  more  than  Poehlmann 's,  con- 
sequently would  not  stand  in  tune  as  well  as  Poehlmann 's  much 
denser,  better  hardened  wire.  At  the  Paris  Exposition  of  1867 
the  Jury  on  Piano  Wire  tested  the  various  makes  exhibited,  on  a 
machine  loaned  by  Pleyel,  Wolff  &  Company.  Poehlmann 's  wire 
proved  so  far  superior  to  any  other  make  that  he  received  the 
highest  i^rize.  As  a  natural  consequence  all  the  leading  piano 
manufacturers  of  Europe  and  America  adopted  the  Poehlmann 
make  for  their  pianos.  Moritz  Poehlmann  deserves  particular 
credit  for  his  never-ceasing  efforts  to  improve  his  wire,  not  only 
as  to  tensile  strength,  but  also  even  gradation  of  sizes  and  excel- 
lent polish,  so  necessary  a  protection  against  rust.  Poehlmann 's 
remarkable  success  not  only  incited  his  competitors  to  greater 
effort,  but  caused  the  starting  of  a  number  of  new  wire  factories 
in  Germany. 

In  America  Washburn  &  Moen  of  Worcester  have  made  very 
good  piano  wire  since  1860.  The  American  wire  always  had  an 
exceedingly  high  polish,  hardly  ever  attained  by  the  European 
makers,  but  it  often  lacked  the  requisite  density  and  necessary 
uniformity  of  tensile  strength. 


PIANO  WIRE  125 


OFFICIAL  TESTS  OF  TENSILE  STRENGTH  OF 
MUSIC  WIRE 

1.  Official  Test  by  the  Jnnj  of  the  World's  Exhibition,  Paris, 
1867. 

Pleyel,  AVolff  &  Company's  testing  machine  used, 
MoRiTz  PoEHLMAXx's  wlrc  Nos.    13     14     15     16     17     18 

broke  at  a  strain  of Lbs.  226  264  292  296  312  348 

English  wires  broke  at  a  strain  of .  .  ...   214 274 

2.  Official  Test  by  the  Jury  of  the  World's  Exhibition,  Vienna, 
1873. 

MoRiTz  PoEHLMAxx's  wire  Nos,    13     14    15     16     17     18 

broke  at  a  strain  of Lbs,  232  260  290  300  322  336 

Martin  Miller  &  Soxs'  wire  broke 

at  a  strain  of 168  192  206  232  255  280 


3.    Official  Test  by  the  Jury  of  the  World's  Exhibition,  Phila- 
delphia, 1876. 

Steinway  &:  Sons'  testing  machine  used. 

MoRiTz  PoEHLMAXx's  wire  Nos.    13     14     15     16     17     18 

broke  at  a  strain  of Lbs.  265  287  320  331  342  386 

W.  D.  Houghton's  wire  broke  at  a 

strain  of 231  242  253  287  331  374 

Smith    &    Sox's   wire   broke    at    a 

strain  of 221  242  242  287  320  331 

Washburx  &  MoEx's  wire  broke  at 

strain  of 176   ,  . .   198   .  .  .   242   .  . . 


126  PIANOS  AND  THEIR  MAKERS 

The  records  of  the  World's  Fair  at  Chicago,  1893,  show  the 
following  report  of  the  test  of  Poehlmann's  wire  made  by  Judges 
Max  Schiedmayer  of  Stuttgart  and  George  Steck  of  New  York : 

No.  13  Measuring  .030  of  an  inch  broke  at  a  strain  of  325  lbs. 

,,     14            *'  .031  "    *'  "  ''       "   ''  ''      ''    335  " 

,i     15            <^  034  "    "  "  ''       "   *'  "      "    350  " 

''     16            ''  .035  "    "  "  ''       ''   ''  ''      "    400  " 

((       -j  y  «<  Qoy    u      «<        (4  ii  an  a         a      ^^q    a 

How  successful  Poehlmann  has  been  in  improving  his  product 
is  best  illustrated  by  the  following  table  of  tests,  which  shows  the 
tensile  strength  at  breaking  point : 

Expositions —             "Wire  No.  13  14           15  16  17 

Paris,  1867   226  264  292  312  348 

Vienna,    1873    232  261  291  300  336 

Philadelphia,  1876 265  287  320  331  342 

Chicago,  1893 325  335  350  400  415 

Since  1893  no  authoritative  tests  are  on  record,  but  considering 
the  severe  tension  to  which  the  present-day  piano  maker  exposes 
the  wire,  and  as  all  the  different  brands  of  wire  are  used  more  or 
less,  it  will  be  admitted  that  Poehlmann's  efforts  lifted  the  entire 
piano  wire  industry  to  its  present  high  level,  to  the  benefit  of  the 
piano  trade. 

Development  of  the  Piano  Action  Industry 

The  very  first  auxiliary  industry  of  the  piano  trade  was  un- 
doubtedly piano  action  making.  Among  the  oldest  firms  in  exist- 
ence at  this  date,  we  find  first  Brooks  of  London,  who  started  his 
business  in  1810.  L.  Isermann  of  Hamburg,  (now  merged  with 
Langer  k  Company,  of  Berlin),  began  business  in  1842.  In  the 
same  year  came  Charles  Gehrling  of  Paris,  who  was  followed  by 


PIANO  ACTIONS,  PLATES,  PINS 


127 


Schwander,  in  1844.  Morgenstern  &  Kotrade  of  Leipsic  started  in 
184G,  Loxow  of  Berlin  in  1854,  and  Fritz  &  Meyer,  as  well  as  Keller 
of  Stuttgart,  commenced  business  in  1857. 

In  America  F.  W.  Frickinger,  a  German  who  had  learned  the  art 
at  Paris,  started  an  action  factory  at  Albany,  N.  Y.,  in  1837,  mov- 
ing later  on  to  Nassau,  N.  Y.  His  son-in-law,  Grubb,  succeeded  him 
and  the  business  is  now  carried  on  under  the  firm  name  of  Grubb  & 
Kosegarten  Brothers. 

George  W.  Seaverns  established  his  action  factory  at  Cam- 
bridgeport,  Mass.,  in  1851. 

In  no  department  of  piano  manufacturing  has  the  use  of  auto- 
matic machinery  been  so  largely  applied,  to  improve  the  product 
and  lessen  the  cost,  as  in 
the  making  of  piano  ac- 
tions. In  all  well  equipped 
action  factories  automatic 
machines  are  employed  to 
fraise,  mold,  bore,  also 
bush  with  cloth,  or  trim 
with  leather,  the  various 
loarts  of  the  piano  action. 
All  of  these  machines 
work  with  positive  jore- 
cision.  Some  machines,  as, 
for  instance,  the  hammer 
butt  milling  machines,  are 
marvels  of  human  ingenu- 
ity. This  machine  takes 
the  wooden  block,  molded 
to  the  proper  form,  and 
by  entirely  automatic  mo- 
tions turns  out  a  perfectly  George  W  .  Seavems 


128  PIANOS  AND  THEIR  MAKERS 

finished  butt.  This  economic  way  of  producing  actions  has  been 
made  possible  because  of  the  fact  that  nearly  all  of  the  American 
jnano  makers  use  the  same  model,  the  only  material  difference 
being  in  the  lengths  of  the  pilots  or  tangents  which  connect  the 
action  with  the  key. 

Iron  Plates,  Pins,  Etc. 

The  casting,  bronzing  and  pinning  of  the  iron  frames  have  kept 
pace  in  every  way  with  the  advancement  of  the  piano.  America, 
in  particular,  has  for  years  produced  the  very  best  of  castings, 
solid  in  grain,  smooth  in  finish.  The  example  set  by  Steinway  & 
Sons,  in  their  foundries  at  Steinway,  Long  Island,  had  a  beneficial 
influence  on  all  plate  makers,  whose  customers  demanded  plates 
''as  good  as  Steinway 's." 

The  progress  in  the  science  of  metallurgy  has  aided  the  plate 
makers  in  obtaining  the  best  blending  of  various  ores,  and  breaking 
or  cracking  of  plates  is  a  trouble  of  the  past. 

Even  in  this  industry,  automatic  machinery  begins  to  lessen  the 
cost  of  production.  The  other  metal  parts  in  the  piano,  brass  and 
nickel  tubes  for  action  rails,  brass  butts  and  flange  rails,  are  manu- 
factured by  specialists.  The  making  of  wrest  or  tuning  pins 
is  an  industry  which  for  over  60  years  has  been  monopolized  by 
a  limited  number  of  manufacturers  in  Westphalia.  They  have  so 
far  managed  to  retain  this  monopoly  by  making  excellent  pins  at 
a  price  so  low  as  not  to  invite  competition. 

Very  good  tuning  pins  are  now  made  in  a  factory  near  New 
York.  Time  will  tell  whether  this  enterprise  can  hold  out  against 
the  low  wages  of  "Westphalia,  because  years  ago  the  Westphalian 
manufacturers  adopted  the  use  of  automatic  machinery,  which 
turns  plain  wire  into  a  finished  tuning  pin,  similar  to  the  process 
of  making  screws. 

Of  other  materials,  such  as  glue,  varnish,  etc.,  nothing  need 
be  said.    They  are  products  used  long  before  pianos  were  made. 


PART  ONE 


CHAPTER  V 


Development  of  the  Player  Piano,  Morse,  Vaucanson,  Seytre, 
Bain,  Pape,  Fourneaux,  McTammany,  Gaily,  Bishop  &  Downe, 
Kuster,  Pain,  Parker,  AVliite,  Brown,  Votev,  Goolman,  Ho- 
bart,  Clark,  Kelly,  Klugli,  Welin,  Hupfeld,  Welte,  Young, 
Crooks,  Dickinson,  Danquard. 


PART    ONE 

CHAPTER  V 

Development  of  the  Player  Piano 

A  LL  useful  inventions  are  the  product  of  evolution — the  result 

/-%     of  searching  thought  and  creative  ability.    An  idea  may 

"^be  born  in  one  man's  mind;  the  realization  and  utilization 

of  the  idea  require,  however,  the  co-operation  of  several  minds, 

one  improving  upon  the  labors  of  the  other. 

The  player  piano  is  still  in  its  development,  and  many  bright 
minds  are  devoted  to  the  improvement  of  the  instrument  as  we 
know  it  at  present.  Destined  eventually  to  displace  the  piano  as 
the  musical  instrument  of  the  home,  adequate  financial  reward 
beckons  to  the  inventive  genius  who  can  accomplish  the  extraor- 
dinary. Aside  from  the  financial  aspect,  the  player  problem  has 
some  of  that  alluring  attractiveness  which  tempts  the  ambitious 
inventor  to  make  his  bid  for  fame,  or  at  least  to  try  to  satisfy 
his  own  desire  for  the  accomplishment  of  the  ideal. 

The  history  of  the  player  piano  is  in  the  making.  While  the 
fundamental  idea  is  perhaps  two  hundred  years  old,  the  real 
development  and  practical  application  dates  back  only  to  the  early 
seventies  of  the  past  century,  and  the  most  important  improve- 
ments, those  which  made  the  player  piano  a  commercial  possibility, 
have  been  developed  during  the  past  twenty-five  years.  Indeed, 
we  can  look  for  ultimate  perfection  only  from  now  on. 

It  would  be  presumptuous  to  pass  judgment  or  dispense  honors 
for  what  has  been  achieved  so  far.  Many  an  ingenious  device  of 
practical  value  to-day  may  prove  to  be  only  a  stepping-stone  for 

131 


132  PIANOS  AND  THEIR  MAKERS 

greater  achievements  to-morrow,  and  thus  soon  become  obsolete. 
The  author  has  to  confine  himself,  therefore,  to  a  documentary- 
description  of  what  appear  to  be  the  most  important  inventions 
of  the  development  of  the  player  piano,  in  their  chronological 
order,  without  attempting  to  discuss  their  merits  or  demerits, 
excepting  those  upon  which  final  judgment  has  been  passed  by  that 
infallible  tribunal,  the  purchasing  public. 

Inquiring  into  the  origin  of  the  player  piano  mechanism,  we 
find  that  the  idea  of  applying  automatic  attachments  to  keyed 
instruments  engaged  many  of  the  harpsichord  and  pianoforte 
builders  of  the  17tli  and  18tli  centuries,  as  illustrated  by  their  efforts 
to  augment  the  scope  of  their  instruments  with  orchestral  effects, 
set  in  motion  by  pedals,  swells,  etc.  Apparently  the  first  successful 
attempt  to  play  an  instrument  with  a  keyboard  by  a  mechanical 
device  was  made  in  1731  by  Justinian  Morse  of  England.  He 
obtained  a  patent,  in  which  he  describes  his  invention  as  follows : 

"  A  new  organ  with  either  diapason  or  the  principal  in  front 
with  one  or  more  sets  of  keys,  the  bellows  to  go  with  either  the 
feet  or  the  hands,  by  which  any  person,  though  unskilled  in  musick, 
may  be  taught  in  an  hour's  time  to  play  with  great  exactness  and 
with  their  proper  graces,  either  single  or  double,  with  preludes 
and  interludes,  all  psalm  tunes,  fuges,  volunteries,  and  anthems 
that  are  usually  sung  in  churches  or  chappells,  or  any  other  musick 
tho'  never  so  difficult,  or  what  length  or  compass  soever,  and  that 
by  this  invention  a  fuller,  thorough  bass  may  be  pla'd  than  can 
possibly  be  performed  by  the  hands  or  fingers  alone  on  the  com- 
mon keys;  and  this  is  performed  entirely  without  vowls  or  barrels, 
and  in  a  third  part  of  the  room,  the  musick  being  prickt  on  both 
sides  of  leaves  or  half -inch  wainscot,  eight  or  ten  psalm  tunes  being 
contained  on  a  board  about  the  size  of  a  large  sheet  of  paper  and 
may  be  worked  by  clockwork,  jack  or  winch,  and  is  made  after  a 
new  method  to  play  louder  or  softer  by  a  division  on  the  sound 
board;  and  that  this  organ  may  be  made  for  a  much  lower  price 


THE  PLAYER  PIANO  133 

tlian  all  others  heretofore,  and  therefore  will  be  very  proper  to 
be  made  use  of  in  churches  or  chappells  in  small  parishes  that  are 
unable  or  unwilling  to  be  at  the  expense  of  the  constant  attendance 
of  an  organist,  or  in  gentlemen's  houses  or  in  private  familys." 

It  is  to  be  regretted  that  no  instrument  answering  the  above 
description  seems  to  be  in  existence,  but,  considering  the  severity 
of  the  patent  laws  of  those  days,  it  can  hardly  be  doubted  but  that 
Morse  constructed  at  least  a  working  model  according  to  his 
specification. 

About  1740-50  Vaucanson,  the  celebrated  automaton  maker  of 
Paris,  reversed  the  construction  of  the  cylinder  used  in  automatic 
musical  instruments  of  his  time.  Instead  of  projecting  pegs,  Vau- 
canson constructed  a  pierced  cylinder  for  weaving  flowered  silks. 
This  cylinder,  according  to  the  holes  it  presented  when  revolved, 
regulated  the  movement  of  needles,  causing  the  warp  to  deviate 
in  such  a  manner  as  to  produce  a  given  design  indicated  by  the 
holes  in  the  cylinder.  It  is  said  that  Vaucanson  used  this  pierced 
cylinder  also  in  musical  instruments. 

Jacquard,  of  silk-loom  fame,  seized  upon  Vaucanson 's  idea,  and 
in  1802  added  an  endless  piece  of  cardboard  to  the  cylinder,  per- 
forated with  holes  in  accordance  with  the  pattern  intended  to  be 
woven.  The  perforated  cardboard  pattern  of  the  Jacquard  loom 
is  in  principle  identical  with  the  perforated  music  rolls  of  the 
present  day. 

Seytre  of  France  patented,  in  1842,  a  musical  instrument  to 
which  he  applied  Jacquard 's  perforated  cardboard.  Bain  of  Scot- 
land patented  a  similar  device  in  1847,  and  that  great  piano  maker, 
Henri  Pape  of  Paris,  tried  his  hand  on  the  same  thing  in  1851. 
No  instruments  of  these  inventors  are  in  existence,  and  it  seems 
that  neither  invention  had  any  practical  or  commercial  value. 
They  are  mentioned  here  only  as  the  next  step  in  advance  from 
the  stiff  perforated  board  to  the  flexible  cardboard. 

In  1863  Fourneaux  of  Paris  patented  his  pianista,  a  device 


134 


PIANOS  AND  THEIR  MAKERS 


Fourneaux's  Pianista 


whicli  through  pneumatics  pressed  "  fingers  "  upon  the  piano  keys 
as  indicated  by  the  perforated  cardboards.  This  mechanism  was 
exhibited  at  the  Philadelphia  Exposition  in  1876,  and  quite  a  num- 
ber of  these  machines  have  been  sold.  The  machine,  set  in  motion 
by  a  crank  movement,  could  be  attached  to  any  piano,  the  fingers 
being  placed  over  the  piano  keyboard,  as  in  the  later  cabinet  player. 
For  unknown  reasons  this  invention  was  not  further  developed, 
and  became  obsolete  because  of  its  limited  possibilities  and  high 
cost. 

About  1868  John  McTammany  constructed  a  mechanism  for 
automatic  playing  of  organs,  substituting  for  the  crank  and  per- 
forated cardboard  of  Fourneaux  a  foot-pedal  action  and  narrow 
sheets  of  perforated  flexible  paper  with  winding  and  rewinding 


THE  PLAYER  PIANO 


135 


Fourneaiix's  Pianista 


rolls.  For  tins  invention  McTammany  filed  on  September  7,  1876, 
a  caveat  with  the  following  description:  "  The  invention  relates 
to  an  improved  attachment  to  organs,  so  that  any  piece  of  music 
may  be  played  in  an  automatic  manner,  in  any  kej^  on  the  same, 
and  the  invention  consists  of  a  mechanism  worked  by  a  fan  from 
the  bellows  and  by  a  strip  of  paper  perforated  to  express  musical 
notes,  and  it  consists  also  of  a  transposing  mechanism  to  play 
music  in  any  desired  key,"  The  above  language  shows  that  the 
patent  attorneys  of  those  days  were  in  the  kindergarten  class  of 
player  piano  patent  lingo  as  we  read  it  to-day. 

In  McTammany 's  invention  the  action  was  inside  the  organ 
case,  instead  of  being  attached  from  the  outside,  as  in  Fourneaux's 
pianista.    AVhile  broadly  speaking  the  action  was  pneumatic,  yet 


13fi 


PIANOS  AND  THEIR  MAKERS 


it  did  not  have  individual 
pneumatics  for  each  tone. 
The  next  important 
step  in  the  development  of 
the  player  mechanism  was 
Merritt  Gaily 's  device, 
patented  in  1881.  It  cre- 
ated a  sensation  at  the 
time,  hut  has  never  been 
commercially  exploited. 

Bishop  &  Downe  of 
England  were  granted  a 
patent  for  a  keyboard  at- 
tachment for  musical  in- 
struments in  1883.  Per- 
haps for  the  reason  that 
the  mechanism  had  to  be 
set  in  motion  by  turning 
a  crank,  precluding  any 
exercise  of  individuality,  this  invention  did  not  succeed  com- 
mercially. 

In  1886  G.  B.  Kelly  invented  a  wind  motor  with  slide  valves 
opening  and  closing  ports  to  pneumatic  motors.  This  form  of 
motor  was  at  once  adopted,  and,  upon  the  expiration  of  the  patent, 
came  into  general  use  in  all  the  factories  in  the  world. 

On  May  14,  1886,  Charles  A.  Kuster  filed  his  application  for 
a  patent  on  a  mechanical  instrument,  which  was  granted  on  April 
19,  1887.  Kuster 's  construction  differed  entirely  from  Bishop 
&  Downe 's,  as  well  as  from  Gaily 's.  It  seems,  however,  that 
Kuster  did  not  know  how  to  make  his  invention  popular  and  to 
secure  for  it  proper  recognition. 

R.  AV.  Pain  is  perhaps  the  first  who  constructed  a  pneumatic 
self-playing  piano.     In  conjunction  with  Henry  Kuster  he  built 


THE  PLAYER  PIANO 


137 


VZZIL 


"•  .^-z:^-^^^' 


John  McTaramanv's  Automatic  Plaviiig  Organ,   1868 


such  an  instrument  for  Xeedham  &  Sons  in  1880,  having  a  compass 
of  39  notes.  In  1882  he  constructed  for  the  Mechanical  Orguinette 
Co.  (which  later  on  became  the  Aeolian  Co.)  an  inside  player  with 
46  notes,  and  in  1888  he  produced  his  65-note  electric  player. 

On  October  16,  1891,  Wm.  D.  Parker  of  Meriden,  Conn.,  in 
the  employ  of  the  Wilcox  k  White  Company,  made  application 
for  a  patent  on  an  automatic  piano.  The  patent  was  granted 
March  8,  1892,  for  a  combination  piano  adapted  for  either  manual 


138 


PIANOS  AND  THEIR  MAKERS 


Merritt  Gally's  Player  Mechanism,  1881 


or  automatic  operation,  having  a  system  of  pneumatic  operating 
meclianism  controlled  by  a  perforated  music  sheet. 

Suitable  wind-inducing  apparatus  or  motor,  and  such  mech- 
anism, permanently  introduced  into  the  structure  of  the  instru- 
ment, operating  upon  the  rear  ends  of  the  manual  keys,  not 
interfering  or  preventing  use  of  the  piano  for  ordinary  manual 
operation.  This  interior  player  mechanism  was  manufactured  by 
the  Wilcox  &  White  Company  of  Meriden,  and  sold  under  the 
name  of  Angelus  Piano  Player  to  piano  dealers  in  Boston,  Phila- 


THE  PLAYER  PIANO 


139 


t 


JfL^Or^r^b^-JEi 


u.„ 


Bishop  &  Do\\Tie's  Keyboard  Attachment,  1883 


George  B.  Kelly's  Wind  Motor  with  Slide  \alves,  1886 


140 


PIANOS  AND  THEIR  MAKERS 


;  '^wwyw^ 


^^\»>kkUkkkK>tUkUUUtiT 


L^ 


o 


THE  PLAYER  PIANO 


141 


PL4 


142 


PIANOS  AND  THEIR  MAKERS 


Ph 


THE  PLAYER  PIANO 


143 


tf 


144 


PIANOS  AND  THEIR  MAKERS 


White  and  Parker's  Combination  Upright  Piano  and  Reed  Organ,  1895.      (Fig.  3) 


delphia,  etc.,  and  the  patent  was  assigned  to  and  controlled  by 
the  Wilcox  &  White  Company. 

On  November  29,  1895,  Edward  H.  White  and  Wm.  D.  Parker 
filed  application  for  a  patent,  which  was  granted  December  15, 
1896,  for  a  combination  of  the  automatic  upright  piano  and  reed 
organ.  This  ingenious  invention  did  not  prove  a  commercial  suc- 
cess, mainly  for  the  reason  that  the  steel  strings  of  the  piano  would 
not  remain  in  tune  with  the  reeds  (which  would  remain  in  tune  for 
years),  and  naturally  on  that  account  would  not  always  blend  with 
the  tone  produced  in  combination  with  each  other. 

On  July  27,  1897,  Wm.  D.  Parker  obtained  patents  for  similar 
attachments  for  grand  and  square  pianos. 


THE  PLAYER  PIANO 


145 


White  and  Parker's  Automatic  Piano  Player  in  Cabinet  Form,  1S97.      (Fig.  1) 


Not  meeting  with  the  success  anticipated  in  introducing  this 
interior  mechanism,  White  and  Parker  on  April  5,  1897,  filed  an 
application  for  a  patent  for  an  automatic  piano  player  in  cabinet 
form,  and  which  contained  reeds  and  could  be  operated  either  as 
an  automatic  reed  organ  or  as  a  keyboard  instrument  player.  The 
patent  w^as  granted  October  26,  1897.    This  cabinet  could  be  moved 


146 


PIANOS  AND  THEIR  MAKEES 


ft     ft   f1   ft      fl  'ifti'     ft   fl   P      ft  fl      ft 

llftollnllnnlliftiijllfilliifllliillfifil^ 


yyyyyyyyyyyyyyiiyiyyWyyyyyyWyyHTr 


Fig.  2 


^^ 


t  L,^  r  i  1 1  rii I  H"p 


Fig.  3 
White  and  Parker's  Cabinet  Piano  Player 


THE  PLAYER  PLIXO 


147 


up  and  on  to  any  kind  of  a 
piano,  whereby  tlie  fingers 
of  the  mechanism,  would 
stand  upon  the  tops  of  the 
keys  of  the  i^iano,  similar 
to  the  fingers  of  the  human 
hand.  The  general  con- 
struction being  practical 
and  durable,  the  instru- 
ment found  immediate 
favor  with  the  public. 

After  completing  a 
number  of  pianos  with  P. 
J.  Bailey's  electric  self- 
playing  device,  which  did 
not  prove  a  success,  Theo- 
dore P.  Brown  of  Worces- 
ter was  granted  patents 
for  an  interior  player 
mechanism  under  dates  of 
April  7,  June  15,  Decem- 
ber 7  and  14,  1897.  The 
pianos  containing  this 
mechanism  were  marketed 
under  the  name  of 
"  Aeriol  Pianos,"  and 
proved  a  commercial  suc- 
cess. In  1898  Brown  sold 
his  patents  to  the  Aeolian 
Company,  and  followed 
the  example  of  the  AVilcox 
&  White  Company  in  con- 
structing a  cabinet  player, 


Fig.  4 


^niiiiV, 


Fig.  5 


Fig.  6 


White  ami  Parker's  Cabinet  Piano  Plaver 


148 


PIANOS  AND  THEIR  MAKERS 


Fig.  7 


r 


^"^"""".""•""•'^^i^^ 


x'l   .^_^^^^^  .N^  ^  ^  s     \  \  S  ^^■  ■  ^  ^  N\  ^ 


!  1 


r  ^  nnn  ryi  □  p  p  □  nn  nn  n  ngnn  nn  n  n  nnn  n^aaa  □  H-j^  |  j|/ 


Figs.  8-12 
White  and  Parker's  Cabinet  Piano  Player 


THE  PLAYER  PIANO 


149 


to 


p^ 


S 


to 


-ggig? 


150 


PIANOS  AND  THEIR  MAKERS 


Theodore  P.  Brown's  Interior  Player,  1897 


known  to  the  trade  as  the  "  Simplex."  These  cabinet  players, 
now  almost  obsolete,  curiously  enough  seemed  to  be  preferred  by 
the  public  to  the  player  piano.  The  fear  of  the  piano  manufac- 
turers to  add  the  player  action  to  the  complicated  upright  i^iano 
action,  may,  to  a  large  extent,  have  been  responsible  for  the  tempo- 
rary popularity  of  the  unsightly  and  unhandy  cabinet  player.  This 
popularity  was  largely  increased  when  Edwin  S.  Votey's  pneu- 
matic piano  attachment  was  put  upon  the  market  under  the  name 
of  *'  Pianola,"  and  pushed  by  a  most  aggressive  advertising  cam- 
paign on  the  part  of  the  manufacturers,  the  Aeolian  Company  of 
New  York.  Votey  filed  his  application  on  January  25,  1897,  and 
a  patent  was  issued  to  him  on  May  22,  1900. 


THE  PLAYEE  PIAXO 


151 


Figs.  1  and  2 


^^^^^/^^^//^^^^M^Z^^^^/A'm^^^/y/^/yA^ 


Figs.  3-5 
Melville  Clark's  Transposing  Device,  1S99 


152 


PIANOS  AND  THEIR  MAKERS 


Figs.   1-4 
Melville  Clark's  Transposing  Device,  1902 


Comparing  the  drawings  of  the  White-Parker  and  Votey 
patents,  it  is  obvious  at  first  glance  that  the  three  inventors 
worked,  although  at  the  same  time,  on  entirely  different  lines  to 
accomplish  their  object. 

From  1898  to  1906  many  patents,  too  numerous  to  mention, 
were  granted  for  improvements  in  player  mechanism.  Among 
them  are  Melville  Clark's  transposing  device,  patented  on  May 
30,  1899,  and  September  30,  1902,  which  has  been  adopted  by  many 
manufacturers  of  player  pianos. 

In  1898  F.  Engelhardt  &  Sons  commenced  to  make  their 
"  Harmonist  "  player,  having  acquired  the  patents  granted  to 
F.  R.  Goolman,  on  February  1  and  April  26,  1898.  Their  "  Peer- 
less Piano  Player,"  a  coin-operated  electric  pneumatic  instrument, 
was  also  placed  on  the  market  in  the  same  year.    This  firm  controls 


THE  PLAYER  PIANO 


153 


I  I  I  I  I  I  I  I  I  I I  I  I  I  I  I  I  I  I  I  I  I  I  1  M  1  I  I  I  II  I  I  I  I  I  I   I  I  I  I  1  I   I  I  I  I   n 


F.  R.  Goolioair.s  liarmouist  i'lavL-r,  1898 


Paul  B.  Kluiiirs  Auxiliarv  Kev.  1906 


154 


PIANOS  AND  THEIR  MAKEES 


A.  J.  Hobart's  Endless  Tune  Sheet,  1908 


the  patent  granted  to  A.  J.  Hobart,  on  July  7,  1908,  for  an  endless 
perforated  tune  sheet,  each  sheet  containing  five  or  more  selections. 

All  player  actions  prior  to  1898  were  so  constructed  that  they 
played  only  65  notes  of  the  88  of  the  piano  scale.  This  necessi- 
tated the  rearrangement  (often  mutilation)  of  modern  composi- 
tions written  for  88  notes. 

Melville  Clark  introduced  in  1901  his  "  Apollo  "  player  with  an 
88-note  tracker  board,  an  innovation  which  has  been  adopted  by 
most  player  manufacturers  for  the  good  of  the  instrument. 

Thomas  Danquard  obtained  a  patent,  on  August  2,  1901,  for 
a  device  called  the  flexible  finger,  by  means  of  which  the  wippen 
of  the  piano  action  is  attacked  direct,  eliminating  thereby  the 


THE  PLAYER  PIANO 


]r)5 


harshness  of  contact  and  hnparting 
elasticity  without  interfering  with  the 
function  of  the  piano  action. 

To  overcome  the  objectionable 
stiffness  of  the  interior  player  action, 
Melville  Clark  patented  on  August  1, 
1905,  and  in  March,  1907,  a  construc- 
tion by  which  the  stroke  button  is 
placed  in  front  of  the  fulcrum  of  the 
piano  key.  Paul  B.  Klugh  obtained  on 
October  9,  190G,  a  patent  for  an  aux- 
iliary key,  with  the  same  object  in 
view. 

Peter  Welin  was  granted  a  number 
of  patents  on  applications  beginning 
May  1,  1902,  for  interior  player 
mechanism,  in  which  every  pneumatic 
can  be  independently  removed  or  ad- 
justed. This  mechanism  is  used  by  the  Auto  Grand  Piano  Com- 
pany, which  acquired  the  Welin  patents ;  also  by  Broadwood  &  Sons 
of  London,  under  protection  of  English  patents  granted  to  Welin. 

In  Germany,  about  the  year  1887,  Paul  Ehrlich  patented  his 
''  Ariston  "  mechanism,  which  played  36  notes.  This  was  soon 
improved  by  Ludwig  Hupfeld  by  a  device  controlling  61  notes. 
The  mechanism  could  be  inserted  into  an  upright  piano  and  set 
in  motion  by  a  crank  movement  or  electric  motor.  In  1889  Hup- 
feld created  a  new  type  of  player  with  76  notes.  None  of  these 
mechanisms  had  pneumatics.  The  "  Phonola,"  placed  on  the 
market  in  1902,  containing  pneumatics,  had  originally  a  compass 
of  72  notes,  but  it  has  now  been  changed  to  88  notes. 

For  the  better  control  of  piano  or  forte  playing  independently 
in  bass  or  treble,  the  power-producing  bellows  of  the  Phonola  is 
divided  into  two  sections,  as  shown  in  illustration. 


Tliomas  Danquard's  Flexible 
Finger  Mechanism,  1904 


156 


PIANOS  AND  THEIR  MAKERS 


LiL'./v,  .„!/       /    ;    '.^:.w/M 


O 


so 

5 


THE  PLAYER  PIANO 


157 


Peter  Welin's  Iiulividual  Valve  System.   1002 


Through  an  ingenious  connection  of  a  special  pneumatic  with 
the  hammer  rail,  the  Phonola  mechanism  gives  the  performer  an 
opportunity  for  most  delicate  shading  in  pianissimo  playing,  by 
simply  exercising  more  or  less  pressure  upon  the  i)edals. 

The  latest  product  of  the  Hupfeld  factories  is  called  the  "  Dea," 
a  self-playing  device  which  reproduces  the  playing  of  virtuosos 
through  an  arrangement  of  the  music  rolls. 

The  Dea  and  the  "  Welte  Mignon  "  may  justly  be  called  the  ne 
plus  ultra  of  player  development  for  purely  mechanical  expression, 
because  they  reproduce  the  individual  interpretations  of  the  most 
renowned  pianists  with  all  the  accentuation  and  expression  in  its 
finest,  most  subtle  nuances.  These  artistic  players  will  ever  be  a 
most  valuable  assistant  to  the  piano  teacher,  aiding  him  in  instruct- 
ing his  pupils  as  to  how  great  artists  interpret  the  compositions  of 
the  masters.    They  are  furthermore  of  inestimable  value  in  record- 


158 


PIANOS  AND  THEIR  MAKERS 


Fig.  1 


Ludwig  Hupf eld's  Phonola  Player,  1902 


ing  for  posterity  the  wonderful  playing  of  a  Joseffy,  Rosenthal,  De 
Pachman,  Busoni  and  other  virtuosos. 

However,  the  music-loving  amateur  requires  the  pleasure  of  his 
own  interpretation,  the  only  real  pleasure  anyone  can  get  out  of  a 
piano.  We  have  at  present  the  '^  Metrostyle,"  invented  by  F.  L. 
Young  in  1901,  enabling  the  amateur  to  follow  the  intention  of  the 
composer  as  to  the  proper  metronomic  rendering  of  his  com- 
position; the  "  Themodist,"  invented  by  J.  W.  Crooks  in  1900; 
the  "  Phrasing  Lever,"  patented  in  1903  by  Haywood;  the  "  Tem- 
ponome,"  invented  by  Danquard  and  Keeley  in  1911;  the  "  Arti- 
style  "  markings  for  the  music  rolls,  indicating  both  tempo  and 


THE  PLAYER  PIANO 


159 


Hupfeld's  Pliouola  I'laycr.     Fig.  li 

n 


l-"igs.  3  and  4 
Hupfeld's  Phonola  Plaj-er,  Showing  Divided  Bellows  for  Bass  and  Treble  Section 


160  PIANOS  AND  THEIR  MAKERS 

volume  of  tone,  invented  by  P.  K.  Van  Yorx ;  besides  the  many  in- 
genious improvements  of  Kelly,  Dickinson  and  other  inventors., 
whose  fertile  brains  are  continually  engaged  in  making  player- 
piano  history  by  improving  and  simplifying  the  mechanism  of  to- 
day. 

As  time  passes  on,  the  beauty  and  scope  of  the  player  piano 
will  be  appreciated  in  the  same  ratio  as  people  learn  to  perform 
upon  it  properly.  Teachers  must  be  trained  to  give  instructions 
on  the  player  piano  just  as  manual  piano  playing  is  taught  at 
present.  It  not  only  requires  practice,  but  earnest  and  intelligent 
study  to  learn  the  use  of  the  expression  and  accentuating  devices, 
and  more  especially  to  master  the  pedaling,  because,  after  all,  the 
secret  of  proper  shading  and  phrasing  in  rendering  a  composition 
depends  mainly  upon  the  artistic  use  of  the  pedals.  The  "  touch," 
this  all-controlling  factor  in  producing  the  various  shades  of  tone 
on  the  piano,  is  controlled  by  the  pedals  almost  entirely. 

The  player  piano  is  the  musical  instrument  for  the  home  of 
the  future,  barring  all  others,  and  the  growth  of  the  player  in- 
dustry depends  entirely  upon  the  activity  and  enterprise  of  the 
player  manufacturers.  The  instrument  is  as  yet  in  its  infancy. 
Eventually  a  player  piano  will  be  evolved  with  an  action  which 
will  be  capable  of  producing  the  long-sought-for  effects  of  tone 
sustaining,  losing  its  mechanical  character  entirely,  and  thus  be- 
coming the  superior  of  the  present-day  piano,  as  that  instrument 
has  superseded  the  clavichord.  Why  should  not  the  player  piano 
finally  be  so  constructed  as  to  produce  the  powerful  piano  tone 
blended  with  the  soulful  tone  of  the  clavichord? 

The  possibilities  of  improving  the  player  action  together  with 
the  piano  action  can  hardly  be  estimated.  Sufficient  has  been  done 
to  show  that  the  player  piano  of  the  future  will  be  a  musical 
instrument  par  excellence. 


THE  PLAYER  PIANO 


161 


162 


PIANOS  AND  THEIR  MAKERS 


^vv\\\\v\\\v\\\vv\\\\v\\\x^^^^ 


Keeley-Danquard  Tempononie,   1911 


PART  TWO 

Commercial  Developynent  of  the  Piano  Industry 

CHAPTER  I 

Italy,  Christofori,  Fischer,  Sievers,  Roseler,  Mola. 

Germany,  Silbermann,  Stein,  Xannette  Stein,  Streieher,  Seliied- 
mayer,  Ibaeh,  Ritmiiller,  Eosenkrantz,  Irmler,  Breitkoj^f  & 
Hartel,  Bliitlmer. 

France,  Erard,  Pleyel,  Herz,  Gaveau,  Bord. 

England,  Tschiidi,  Broadwood,  Kirkman,  Zumpe,  Collard,  Brins- 
mead,  Hopkinson. 

America,  Cliickering,  MacKay,  Xunns  &  Clark,  Gilbert,  Steinway. 


PART    TWO 

CHAPTER  I 

History  of  the  Commercial  Development  of  the  Piano  Industry 

IT  is  difficult  to  make  a  piano,  but  much  more  difficult  to  sell 
it.  The  craft  of  piano  making  did  not  evolve  into  an  industry 
until  the  commercial  genius  joined  hands  with  the  craftsman. 
It  requires  the  lofty  genius  of  an  artist  and  the  methodical  genius 
of  the  mechanician  to  design  and  build  a  piano,  but  mercantile 
genius  of  the  highest  order  is  necessary  to  market  this  art  product 
in  such  a  manner  as  to  assure  for  it  its  proper  position  in  the 
marts  of  the  world. 

To  achieve  lasting  success  in  the  piano  industry  of  to-day, 
a  combination  of  artistic  and  commercial  ability  of  the  highest 
order  has  become  a  positive  necessity.  The  piano,  not  a  necessity, 
but  a  vehicle  for  expression  of  one  of  the  high  arts,  appeals  only 
to  people  of  culture  and  refinement.  Consequently  the  piano  in- 
dustry can  thrive  only  in  countries  where  wealth  is  accumulating. 
It  will  prosper  in  proportion  as  a  country's  wealth  increases,  and 
decline  when  a  country's  resources  are  declining. 

In  its  early  struggles  for  existence,  the  piano  had  to  depend 
upon  the  protection  of  kings  and  princes.  Schroter  could  not 
build  his  piano  because  he  did  not  command  sufficient  influence  to 
obtain  financial  aid  from  his  king. 

165 


166  PIANOS  AND  THEIR  MAKERS 


ITALY 


It  is  not  to  be  wondered  that  Italy  and  the  Netherlands  pro- 
duced those  beautiful,  artistic  spinets,  clavichords  and  harpsi- 
chords, enshrined  in  most  artistic  cases,  embellished  with  rich 
carvings,  or  like  the  clavichords  of  Hans  Ruckers,  with  paintings 
of  the  great  Flemish  masters  of  those  days.  Both  the  Netherlands 
and  Italy  were  then  at  the  zenith  of  their  commercial  supremacy, 
their  ships  bringing  riches  from  all  parts  of  the  globe.  This  great 
accumulation  of  wealth  brought  about  the  age  of  Renaissance  in 
Italy.  The  enormously  rich  nobility  and  the  wealthy  burghers 
generously  supported  Michael  Angelo,  Raphael,  DaVinci  and  their 
contemporaries,  encouraging  the  creation  of  their  master  works 
by  most  liberal  contributions  and  the  bestowal  of  honors. 

Together  with  architecture,  sculpture,  painting  and  literature, 
the  culture  of  music  was  revived,  and  we  find  at  the  end  of  the 
17th  century  Bartolomo  Christofori  comfortably  placed  as  musical- 
instrument  maker  to  the  Duke  of  Tuscany.  The  ever-open  purse 
of  the  Duke  permitted  Christofori  to  pursue  his  studies  and 
experiments  in  developing  the  pianoforte,  while  engaged  in  making 
spinets,  harpsichords,  lutes,  etc.,  for  the  courtiers  of  the  Duke. 
It  was  a  proud  moment  for  Christofori  and  the  Duke  when  the 
latter  could  show  to  his  court  the  great  invention  of  Christofori. 
However,  as  the  proud  Italian  noblemen  of  that  period  eschewed 
the  idea  of  commercializing  the  creations  of  their  artists,  not 
many  pianofortes  were  built  by  Christofori.  Nor  were  the  condi- 
tions favorable  for  an  immediate  exploitation  of  the  invention. 
Italy's  trade  was  chiefly  with  the  Orient,  where  pianofortes  could 
not  be  sold.  The  larger  cities  of  Europe  nearly  all  had  clavichord 
makers  of  their  own,  and  the  overland  transportation  of  so  large 
an  instrument  was  very  costly  and  slow. 


COMMERCIAL  DEVELOPMENT  167 

There  is  no  doubt,  however,  that  the  King  of  Saxony  came  into 
the  possession  of  a  Christofori  pianoforte  at  an  early  date,  which 
Silbermann  copied,  thus  making  any  further  sales  of  Christofori 
or  other  Italian  pianofortes  impossible  north  of  the  Alps.  We, 
therefore,  hear  very  little  of  piano  making  in  Italy  at  that  time, 
except  for  home  consumption. 

About  the  middle  of  the  19th  century  the  piano  industry  of 
Italy  took  a  new  start.  Fischer  of  Vienna  had  started  a  factory 
at  Naples,  followed  by  the  renowned  Sievers  of  St.  Petersburg,  and 
later  on  by  Koseler  of  Berlin,  who  established  himself  at  Turin. 
Roseler  was  so  successful  that  he  soon  found  many  followers,  so 
that  Turin  boasts  to-day  of  having  15  well-equipped  piano  fac- 
tories, of  which  the  establishment  of  Mola  is  the  largest,  producing 
about  4,000  pianos,  harmoniums  and  church  organs  per  annum. 
No  doubt  Italy  produces  more  barrel  and  pneumatic  street  pianos 
than  any  other  country,  but  these  noisy  instruments  are  only 
intended  to  amuse  children  on  the  public  highways  and  cannot  be 
classed  with  pianos. 


GEEMAlSrY 

Accepting  Gottfried  Silbermann  of  Freiberg  as  the  father  of 
the  piano  industry  of  Germany,  we  have  to  admit  that,  besides 
being  a  good  organ  builder  and  piano  maker,  he  also  was  a  very 
shrewd  business  man.  Not  only  had  he  the  good  sense  to  copy 
the  Christofori  piano  in  toto,  after  Johann  Sebastian  Bach  had 
condemned  Silbermann 's  own  creation  in  unmeasured  terms,  but 
he  finally  induced  old  Bach  to  indorse  his  Christofori  copy  and 
cleverly  managed  to  sell  to  Frederick  the  Great  seven  of  those 
instruments  at  the  extravagant  price  of  700  thalers  (about  $500) 
for  each  instrument.    Considering  the  purchasing  power  of  money 


168  PIANOS  AND  THEIR  MAKERS 

at  that  time,  it  is  reasonable  to  assume  that  Silbermann  received 
at  least  five  times  the  amount  of  the  actual  cost  of  the  instruments. 

Saxony  remained  for  a  long  time  the  center  of  piano  making  in 
Germany,  and  from  the  shops  of  Silbermann  came  nearly  all  the 
pioneers  who  spread  the  industry  over  the  continent  of  Europe 
and  Great  Britain.  The  so-called  12  apostles  (12  German  piano 
makers),  who  landed  in  London  about  1760,  were  nearly  all  Sil- 
bermann pupils,  and  became  the  pioneers  of  the  English  piano 
industry.  Among  them  were  Zumpe,  Backers  (Becker),  Geib  and 
others,  whose  names  later  on  appeared  in  the  London  city  directory 
as  pianoforte  makers. 

Johann  Andreas  Stein,  undoubtedly  the  most  talented  of  Sil- 
bermann's  pupils,  went  to  Augsburg  and  made  his  first  piano  in 
1768.  His  daughter  Nannette,  with  her  husband,  Johann  Andreas. 
Streicher,  later  on  moved  to  Vienna,  founding  the  "  Vienna 
school  "  of  piano  makers.  Balthasar  Schiedmayer  made  his  first 
piano  at  Erlangen  in  1735.  Johann  David  Schiedmayer  continued 
the  business  at  Nuremberg,  and  his  son  Lorenz  moved  to  Stuttgart 
in  1809,  where  he  became  the  founder  of  the  "  Stuttgart  school." 
Next  we  hear  of  Johannes  Adolf  Ibach,  who  started  near  Barmen 
in  1791.  Andreas  Georg  Ritmiiller  commenced  business  at 
Gottingen  in  1795,  and  Ernst  Rosenkrantz  at  Dresden  in  1797. 

From  that  period  on  piano  making  increased  rapidly  in  Ger- 
many, makers  locating  chiefly  in  the  residence  cities  of  the  many 
principalities  of  those  days,  because  the  courts  of  the  potentates 
were  about  the  only  customers  a  piano  maker  could  then  look  for. 
Commercial  methods  were  entirely  unknown.  A  piano  maker 
would  build  his  i)iano  and  then  quietly  await  a  customer.  To 
advertise  a  piano  for  sale  would  have  been  considered  an  unpar- 
donable sin  against  the  ethics  of  the  craft.  It  required  the  revo- 
lutionary nerve  of  the  pathfinders  after  the  middle  of  the  19th 
century   to   brush   away   that   prejudice.     Just   as    soon   as    the 


COMMERCIAL  DEVELOPMENT  169 

industry  began  to  develop  in  the  commercial  atmosphere  of  Leipsic, 
Berlin  and  Stuttgart,  the  piano  makers  of  Germany  commenced  to 
make  efforts  to  sell  their  products  outside  of  their  own  bailiwicks. 
Vienna  looked  askance  at  this  new  movement,  and  consequently  has 
hardly  held  its  own  in  the  onward  marcli  of  the  industry. 

Julius  Bliithner  of  Leipsic  made  good  use  of  the  opportunity 
which  that  great  school,  the  Conservatory  of  Music,  offered. 
Young  people  from  all  parts  of  the  globe  came  to  that  school  to  be 
instructed  by  Moscheles,  Plaidy,  Wenzel,  Eeinecke  and  others, 
to  go  out  into  the  world  as  teachers  or  virtuosos.  They  studied 
on  Bliithner  pianos  during  their  sojourn  at  Leipsic,  and  sang  the 
praise  of  the  Bliithner  piano  wherever  they  went.  Nor  did 
Bliithner  ever  spare  printer's  ink  in  order  to  tell  the  world  what 
fine  pianos  he  was  building,  to  the  great  horror  of  the  old-school 
piano  makers.  He  sent  his  pianos  to  the  world's  expositions  and 
carried  off  prize  medals  for  showing  something  new  or  better  than 
the  conventional. 

The  old  renowned  firms  of  Irmler,  Breitkopf  &  Hartel  of 
Leipsic  and  the  Dresden  and  Stuttgart  makers  looked  on  for  quite 
a  while,  satisfied  with  the  steady  home  trade  and  their  profitable 
export  trade  (mainly  to  North  America),  but,  when  their  export 
business  was  absorbed  by  the  American  makers  and  their  active 
German  competitors  invaded  their  home  territories,  they  quickly 
adopted  the  same  aggressive  policy,  keeping  pace  with  the  most 
advanced  ideas  and  business  tactics. 

This  persistent  propaganda  by  all  the  leading  firms  made  the 
piano  very  popular,  and  the  demand  increased  in  proportion.  The 
use  of  labor-saving  machinery  was  introduced  by  all  leading  firms. 
Establishments  for  the  manufacture  of  supplies  sprang  up 
at  all  piano-manufacturing  centers,  and  soon  the  piano  *'  com- 
joiler  "  appeared,  at  first  in  Berlin,  later  on  to  be  found  every- 
where. 


170  PIANOS  AND  THEIR  MAKERS 

Export  merchants  saw  the  possibilities  of  using  the  German 
piano  for  successful  competition  against  the  English  make  in 
foreign  countries,  and  a  lively  export  trade  was  soon  estab- 
lished. Piano  dealers  became  active  in  every  city,  town  and  hamlet. 
At  the  present  time  almost  every  schoolteacher  in  the  villages  of 
Germany  is  the  agent  for  one  or  more  piano  makers. 

The  practice  of  "  peddling  "  pianos — that  is,  to  load  a  piano 
on  to  a  wagon,  going  out  to  the  country  with  it,  looking  for  a  pos- 
sible customer — was  first  resorted  to  by  Berlin  makers  of  low- 
priced  pianos  about  1866.  It  is  now  generally  practiced  in 
America. 

After  1873  Germany  started  upon  a  wonderful  career  of  in- 
dustrial revival.  That  far-seeing  statesman,  Bismarck,  not  only 
inaugurated  the  beneficial  policy  of  protection  for  the  home  market, 
by  putting  duties  on  foreign-made  goods,  but  he  also  organized  a 
splendid  consular  service,  making  each  consul  a  servant  of  German 
commerce  and  industry.  Furthermore,  he  subsidized  the  merchant 
marine  and  cheapened  transportation  on  land,  all  in  order  to 
enable  the  German  manufacturer  to  gain  a  foreign  trade.  How 
effectually  the  German  piano  trade  has  made  use  of  these  advan- 
tages is  illustrated  by  the  fact  that  over  20,000  pianos  were  shipped 
from  Germany  to  England  alone  during  1909.  Considering  that 
up  to  1860  England  was  leading  the  world  in  the  production  of 
pianos,  this  fact  speaks  volumes  for  the  enteri^rise  of  the  German 
piano  manufacturers  and  the  quality  of  their  product. 

German  pianos  to-day  dominate  all  foreign  markets,  excepting, 
of  course,  North  America,  not  on  account  of  low  prices,  but  mainly 
because  of  the  advanced  commercial  methods  followed  by  the 
German  manufacturer  and  merchant,  who  is  ever  willing  to  accom- 
modate himself  to  the  demands  of  his  customers,  meeting  the 
buyer's  peculiar  taste  for  style  and  tone  of  the  piano  and  also 
his  methods  of  transacting  business. 


COMMERCIAL  DEVELOPMENT  171 

Germany  has  to-day  about  300  piano  factories,  some  of  them  pro- 
ducing from  3,000  to  7,000  pianos  per  year.  The  total  output  of  all 
factories  is  estimated  at  about  170,000  pianos  annually.  Spain  has 
about  20  piano  factories.  The  firm  of  Ortiz  &  Cusso  of  Barcelona 
turn  out  1,000  pianos  annually.  The  total  production  of  Spain 
is  estimated  at  2,500  pianos  per  year,  of  which  a  considerable 
number  are  exported  to  South  America.  Scandinavia,  Belgium, 
Holland  and  Switzerland  are  no  factors  in  the  world's  piano  mar- 
kets. Good  pianos  are  made  at  Copenhagen,  Stockholm  and  Chris- 
tiania,  as  well  as  at  Brussels  and  The  Hague,  at  Zurich  and  Bern, 
mostly  for  home  consumption,  however.  Belgium  has  16  piano 
factories;  Switzerland,  12;  Holland,  6;  Scandinavia,  40;  mostly 
small  shops  with  a  production  of  from  50  to  100  pianos  per  year. 
The  total  annual  production  of  these  countries  probably  does  not 
exceed  from  6,000  to  8,000  pianos. 

FRANCE 

Although  Paris  (which  means  France)  was,  up  to  1851,  far  in 
the  lead  of  Germany,  it  appears  to  be  retrogressing,  because  of 
its  overproud  conservatism.  It  seems  difficult  for  the  leading  Paris 
makers  to  realize  that  Germany  and  America  are  producing  pianos 
far  better  adapted  to  the  modern  school  of  piano  playing  and  com- 
position than  the  sweet-toned  instruments  which  dominated  the 
concert  halls  in  Chopin's  days.  The  home  of  the  Erard,  Pleyel, 
Herz  and  Gaveau  piano  can  show  only  35  establishments  where 
pianos  are  manufactured,  all  together  scarcely  reaching  an  output 
of  25,000  per  annum.  Antoine  Bord  in  his  best  days  turned  out 
as  many  as  4,000  pianos  (mostly  small  uprights)  per  year,  but  even 
this  formerly  enterprising  concern  seems  now  to  be  content  to 
rest  on  its  laurels.  The  firm  of  Plej^el,  Lyon  &  Company  turns  out 
about  3,500  pianos  per  year,  one-seventh  of  the  total  production  of 
France. 


172  PIANOS  AND  THEIR  MAKEES 


ENGLAND 

When  Johannes  Zumpe  went  from  Silbermann's  shop  to  Lon- 
don in  1760,  it  seems  that  he  was  at  once  infected  with  the  com- 
mercial bacteria,  rampant  in  that  greatest  commercial  and  financial 
center  of  the  world.  Xo  one  holds  the  title  to  the  name  "  father  of 
the  commercial  piano  "  so  indisputably  as  that  industrious  Ger- 
man. He  found  the  aristocratic  Tschudi,  Broadwood,  Kirkman 
and  others  making  high-priced  harpsichords,  and  later  on  equally 
costly  grand  pianos,  and  quickly  decided  to  build  a  piano  at  a 
price  within  reach  of  the  well-to-do  middle  class.  To  reduce  cost, 
he  simplified  the  Christofori  action,  adopted  the  square  form  of 
the  clavichord  and  thus  was  first  in  putting  upon  the  market  a 
square  piano  at  a  moderate  price.  This  piano,  although  without 
merit,  either  as  to  workmanship  or  tone,  filled  a  long-felt  want, 
and  Zumpe  amassed  a  fortune  within  a  comparatively  short 
time,  upon  which  he  retired  at  an  early  age.  Kirkman, 
landing  in  London  in  1740  as  Jacob  Kirchmann,  a  German  harp- 
sichord maker,  was  even  more  successful  than  Zumpe.  He 
left  an  estate  valued  at  about  $1,000,000  when  he  died  in 
1778. 

The  financial  successes  of  Kirkman,  Zumpe,  Broadwood  and 
others  attracted  capital  to  the  industry,  and  London  became  the 
birthplace  of  the  modern  piano  factory,  where  steam-driven  ma- 
chines were  employed.  London  piano  manufacturers  utilized  cir- 
cular saws,  planing  machines,  etc.,  as  early  as  1815.  In  the  days 
before  the  steam  railroads,  London  was  an  ideal  place  for  piano 
manufacturers.  Not  only  did  they  control  a  fine  home  market,, 
among  the  great  landowners,  rich  merchants  and  manufacturers^ 
but  they  also  had  absolute  control  of  the  export  business  to  foreign 
countries  by  reason  of  England's  supremacy  of  the  seas.     It  is 


COMMERCIAL  DEVELOPMENT  173 

reported  that  in  1851  London  had  180  firms,  which  produced  25,000 
pianos  a  year,  at  a  vahie  of  $4,000,000. 

In  about  1860  London  had  reached  its  zenith  as  the  leading  piano 
manufacturing  center.  Edgar  Brinsmead,  in  liis  book  published 
in  1870,  claims  an  onti)nt  of  about  35,000  pianos  per  annum  for 
England.  Since  that  time  Germany  has  not  only  captured  most 
of  England's  export  trade,  but  is  sending  to  England  direct  not 
less  than  20,000  pianos  every  year,  while  the  total  production  of 
Great  Britain  hardly  exceeds  75,000  i)ianos  a  year.  The  main 
cause  of  this  state  of  affairs  is  undoubtedly  the  conservatism  with 
which  the  English  manufacturers,  like  the  French,  have  clung  to 
their  old  models  and  methods.  Up  to  1860  the  piano  makers  of 
Germany  looked  to  London  and  Paris  for  new  ideas  and  improve- 
ments in  construction  and  making.  With  modifications  of  their 
own,  they  adopted  the  English  and  French  models  and  used  Eng- 
lish and  French  felt,  wires  and  actions  in  their  pianos.  After  the 
Paris  exposition  of  1867,  Germany  adopted  the  American  system 
of  piano  construction,  made  its  own  wires,  felts  and  actions,  and,  as 
a  result,  soon  dominated  over  England  and  France  in  the  world's 
markets. 

London  is  now  credited  with  126  piano  factories,  still  led  by 
the  revered  names  of  Broadwood,  Collard,  Brinsmead,  Hopkinson 
and  others,  who  for  so  many  years  gave  luster  to  the  English 
piano's  reputation. 

Broadwood  &  Sons  have  lately  adopted  a  progressive  policy 
as  of  old,  using  in  their  new  factory  all  known  modern  improve- 
ments, and  with  characteristic  foresight  are  again  in  the  lead  as 
the  only  London  firm  who  manufacture  every  part  of  their  player 
pianos  in  their  own  factories.  It  is  possible  that  the  English  piano 
industry  under  Broadwood 's  lead  may  retrieve  its  lost  prestige 
by  an  energetic  development  of  the  player  piano,  which  is  destined 
to  be  the  controlling  factor  in  the  piano  industry  of  the  future. 


174  PIANOS  AND  THEIR  MAKERS 

Yet  the  prevailing  economic  policy  of  the  British  Government  is 
a  great  handicap  for  the  English  manufacturer,  making  it  impos- 
sible for  him  to  even  control  his  own  home  market,  as  is  done  by 
the  manufacturers  of  all  other  countries. 


AMERICA 


North  America,  the  new  world,  presented  entirely  different 
conditions  to  the  piano  industry  than  the  old  world.  Although 
without  nobility  or  aristocracy,  its  natural  resources  produced 
wealth  at  such  a  rapid  pace  that  even  in  its  early  days  the  piano 
industry  of  America  was  very  lucrative.  In  1860  we  find  mam- 
moth piano  factories  in  Boston,  New  York,  Baltimore  and  Phila- 
delphia rivaling  in  every  respect  the  old  renowned  establishments 
of  London. 

That  excellent  piano  maker  and  inventor,  Jonas  Chickering, 
had  the  good  sense  to  associate  himself,  in  1830,  with  John  Mac- 
Kay,  an  enterprising  commercial  genius,  who  spread  the  fame  of 
the  Chickering  piano  over  the  entire  United  States  as  it  was  then 
known.  At  the  World's  Fair,  London,  in  1851,  Chickering  ex- 
hibited the  first  American  pianos  shown  in  Europe,  and  carried 
off  the  highest  honors.  Meyer  of  Philadelphia,  Nunns  &  Clark  of 
New  York  and  Gilbert  &  Company  of  Boston  were  also  represented 
at  that  exposition,  all  of  tliem  making  creditable  exhibits.  After 
the  death  of  his  partner,  MacKay,  Chickering,  being  far  in  the 
lead  of  all  other  American  piano  manufacturers,  did  not  continue 
the  aggressive  business  policy  inaugurated  by  MacKay,  and  lack- 
ing an  inspiring  leader,  the  industry  progressed  very  slowly  from 
1840  to  1855,  when  Steinway  &  Sons  appeared.  Their  methods  of 
persistent  publicity  were  as  revolutionary  as  those  later  on  adopted 
by  Bliithner  in  Germany.    They  never  relaxed  in  letting  the  public 


COMMEKCIAL  DEVELOPMENT  175 

know  that  tliey  manufactured  a  fine  i)iaiio.  William  Steinway, 
with  far-seeing  judgment,  was  not  satisfied  only  to  use  printer's 
ink  with  telling  effect,  but  he  also  began  to  educate  the  public  to 
appreciate  good  music.  Steinway  Hall  was  erected,  the  Theo- 
dore Thomas  orchestra  generously  supported  and  the  greatest 
piano  virtuosos  from  Rubinstein  to  Joseffy  engaged  for  con- 
certs, not  only  in  New  York  but  in  all  large  cities  of  the  United 
States  and  Canada. 

Chickering  &  Sons  followed  Steinway 's  example  and  erected 
Chickering  Hall  in  New  York,  also  one  in  Boston.  Knabe,  Weber 
and  Steck  also  engaged  great  soloists  for  concert  work  in  all  lead- 
ing cities,  creating  a  popularity  for  the  piano  in  proportion  to  the 
growth  of  wealth  in  the  United  States, 

Official  statistics  show  that  during  18G9  the  United  States 
produced  about  25,000  pianos  at  a  value  of  $7,000,000,— $3,000,- 
000  more  than  London  received  for  the  same  number  of  pianos  in 
1851.  The  output  for  1910  is  estimated  at  350,000  pianos,  valued 
at  about  $100,000,000. 


PART  TWO 


CHAPTER  II 


The  Commercial  Piano,  Joseph  P.  Hale. 

The  Stencil,  Department  Stores,  Consolidations. 


PART    TWO 

CHAPTER  II 

The  Commercial  Piano 

UP  to  this  time  nearly  all  the  pianos  were  manufactured  by 
men  who  were  expert  piano  makers.  Excepting  Willi  am 
Steinway  and  Albert  Weber,  all  the  piano  makers  of  those 
days  were  more  superior  as  craftsmen  than  as  business  man,  valu- 
ing glory  as  piano  constructors  higher  than  financial  success. 
About  1870  Joseph  P.  Hale,  one  of  America's  typical  self-made 
men,  came  to  New  York  from  Worcester,  Mass.,  where  he  had 
accumulated  a  fortune  of  $35,000  in  the  crockery  trade.  Looking 
about  for  an  opportunity  to  invest  his  money  in  an  active  busi- 
ness, he  bought  an  interest  in  the  Grovesteen  piano  factory.  After 
a  short  period  he  severed  this  connection  and  started  a  piano 
factory  on  his  own  account. 

With  the  eminently  practical  trading  instinct  of  the  Yankee, 
Hale  looked  upon  the  piano  as  a  strictly  commercial  proposition. 
AVithout  the  remotest  knowledge  of  music,  tone  or  theory  of  piano 
construction,  utterly  without  patience  for  scientific  experiments,  he 
dissected  the  piano,  figuring  the  cost  of  case,  plate,  action,  labor, 
varnish  and  other  material,  with  one  point  in  view — how  he  could 
reduce  the  cost  of  the  piano.  He  inaugurated  a  system  of  manu- 
facturing and  merchandising  heretofore  unknown  to  the  American 
piano  trade.  Hale  is,  beyond  question,  the  father  of  the  ^'  com- 
mercial "  piano  of  America,  and  has  done  splendid  pioneer  work 
in  his  sphere,  to  the  benefit  of  the  entire  trade.    Unhampered  by 

179 


180 


PIANOS  AND  THEIR  MAKERS 


tradition  or  prejudice  of 
any  kind,  he  manufactured 
pianos  as  he  would  have 
manufactured  bedsteads. 
A  genius  as  an  organizer, 
lie  carried  the  division  of 
labor  to  the  last  point,  so 
that  he  could  reduce  his 
labor  cost  to  less  than  half 
of  what  his  competitors 
paid.  Buying  his  cases, 
keys,  actions,  etc.,  from 
specialists  at  bottom  prices, 
for  cash  on  delivery,  he  was 
not  obliged  to  carry  a  big 
stock  of  lumber  or  other 
material.  Even  when  his 
outinit  had  reached  the  at 
that  time  imposing  number  of  100  pianos  per  week,  he  would  not 
carry  more  than  one  week's  supply  of  stock  on  hand. 

It  will  be  readily  understood  that  Hale  could  sell  his  pianos 
far  below  the  cost  price  of  a  high-grade  piano  and  still  make  a  good 
profit.  These  revolutionary  methods  caused  bitter  antagonism  on 
the  part  of  his  competitors  of  the  old  school.  Hale  went  on  with 
his  business  complacently,  and  argued  that  the  makers  of  high- 
class  pianos  were  all  wrong  in  antagonizing  him,  because,  by  his 
low  price,  he  was  bringing  the  piano  within  the  reach  of  the  work- 
ing classes.  Once  introduced  there,  out  of  each  10  buyers  of  his 
cheap  pianos,  at  least  one  would  develop  within  10  years  into  a 
good  piano  player,  who  would  then  not  be  satisfied  until  he  pos- 
sessed a  high-class  instrument. 


Joseph  P.  Hale 


THE  COMMERCIAL  PIANO  181 

Hale's  i)ro])liecy  has  come  true.  The  number  of  firms  making 
commercial  pianos  increased  steadily,  but  so  did  the  output  of 
the  makers  of  high-class  pianos,  and  to  their  list  names  like  Bald- 
win, Mason  &  Hamlin,  Everett,  Conover  and  many  other  makers 
of  fine  concert  grands  have  since  been  added.  Hale  and  his  fol- 
lowers made  it  possible  for  the  dealer,  especially  in  the  rapidly- 
growing  western  States,  to  market  large  numbers  of  pianos  among 
the  farmers,  artisans,  etc. — tenfold  more  than  would  have  been 
possible  if  they  had  been  restricted  to  the  sale  of  high-class 
makes  only. 

Hale  was  the  first  American  piano  manufacturer  who  discarded 
the  agency  system.  His  goods  were  for  sale  to  anybody,  anywhere, 
as  long  as  the  buyer  was  able  to  pay  for  the  same.  To  avoid  clash- 
ing among  his  own  dealers,  he  started  the  stencil  system.  He  would 
stencil  his  pianos  with  any  name  desired  by  the  buyer,  which  the 
law  permitted.  Thus  the  dealer,  especially  the  big  jobber  of  the 
west,  commenced  to  sell  some  pianos  with  his  own  name  on  the 
fallboard,  or  even  cast  into  or  screwed  on  to  the  iron  plate.  In 
time  the  western  jobber  began  to  see  that  he  might  save  that  great 
item  of  freight  from  New  York  or  Boston  to  Chicago  by  manu- 
facturing his  own  goods  at  home,  and  about  the  year  1880  the  first 
factories  were  started  in  Chicago.  Cincinnati  soon  followed,  and 
to-day  the  western  factories  produce  nearly  half  of  the  pianos 
made  in  the  United  States. 

The  tremendous  increase  of  output,  from  25,000  pianos  in  1869 
to  350,000  in  1910,  was  only  made  possible  through  the  educational, 
artistic  and  advertising  i)ropaganda  by  the  makers  of  high-grade 
pianos  on  the  one  hand,  and  the  aggressive  selling  methods  of  the 
makers  of  commercial  pianos  on  the  other.  Many  of  the  large 
western  houses  own  and  successfully  run  factories  in  which  pianos 
of  the  highest  grade  are  made,  as  well  as  factories  turning  out 
commercial  pianos  by  the  thousands. 


182  PIANOS  AND  THEIR  MAKERS 

Stencil 

The  much- abused  and  scandalized  stencil  has  been  legitima- 
tized, inasmuch  as  many  manufacturing  concerns  trade-mark  one 
or  more  names  other  than  their  firm  name,  and  use  such  trade- 
mark names  for  specific  pianos  made  in  factories  built  especially 
for  this  purpose.  Again,  dealers  often  obtain  a  trade-mark  for 
a  certain  name,  which  they  use  on  pianos  built  especially  for  them, 
all  of  which  is  now  considered  quite  proper  and  accepted  by  uni- 
versal usage. 

Department  Stores 

While  the  manufacturing  of  a  large  number  of  pianos  has 
become  a  comparatively  easy  matter,  being  merely  a  matter  of 
factory  space,  machinery,  system  and  proper  organization,  the 
distribution  of  the  manufactured  goods  is  becoming  a  more  and 
more  vexing  problem.  The  general  demand  has  of  late  years 
impelled  some  of  the  leading  department  stores  in  the  large  cities 
to  add  pianos  to  their  list  of  commodities.  In  these  stores  the 
one-price  system  has  been  introduced  with  more  or  less  success. 
The  so-called  mail-order  houses  are  also  distributing  pianos,  and 
it  appears  as  if  the  small  dealer  will  eventually  have  to  quit  the 
field,  unless  he  is  strongly  supported  by  the  manufacturer.  The 
keen  competition  has  induced  some  of  the  larger  manufacturing 
concerns  to  become  their  own  distributors,  having  salesrooms  in 
most  of  the  leading  cities. 

Consolidation 

Several  large  manufacturers  of  high-grade  pianos  have  found 
it  to  their  interest  to  combine  with  large  concerns  having  a  supe- 
rior selling  organization,  like  Weber  and  Steck,  who  joined  the 
Aeolian  Company,  or  with   large  manufacturers   of   commercial 


THE  COMMERCIAL  PIANO  183 

j)ianos,  as  in  the  case  of  the  American  Piano  Company,  a  combi- 
nation of  Chickering  &  Sons,  Knabe  &  Company  and  Foster, 
Armstrong  &  Company,  whose  combined  output  per  year  is  over 
15,000  pianos  of  all  grades.  There  are  a  number  of  concerns  in  the 
middle  west  whose  annual  individual  output  exceeds  10,000  pianos, 
while  a  production  of  from  3,000  to  5,000  pianos  per  year  is  at 
present  rather  the  minimum  for  up-to-date  firms.  It  is,  perhaps, 
safe  to  saj'  that  each  of  the  three  largest  western  manufacturing 
firms  turns  out  nearly  20,000  pianos  per  year,  or  together  more 
than  twice  as  much  as  the  production  of  the  entire  United  States 
in  18G9. 

How  profitable  large  production  coupled  with  independent  dis- 
tribution can  be  made  is  best  illustrated  by  the  fact  that  a  Chicago 
house  managed  to  sell  60,000  pianos  of  one  style  or  pattern.  "What 
economy  in  manufacturing  may  be  practiced  in  making  such  an 
immense  number  of  pianos  of  one  kind ! 


PART  TWO 


CHAPTER  III 

The  Art  Piano,  Geronimo,  Trasuuti,  Hans  Ruckers,  Shudi,  Broad- 
wood,  Sir  Alma  Tadema,  Steinway,  Marqiiandt,  Norman,  Sir 
Edward  Poynter,  Theodore  Eoosevelt,  Denning,  Bosendorfer, 
Empress  Elizabeth,  Ibach's  Jubilee  Grand,  Baldwin,  Barnhorn, 
Guest,  Blilthner,  Erard,  Pleyel,  Lyon  &  Co.,  Chickering's 
Louis  XIV  Grand,  Everett's  Sheraton  Grand,  Samuel  Hay- 
ward,  Knahe's  "  Nouveau  Art  "  Grand,  Weber's  Louis  XIV 
Grand. 

The  Pedal  Piano,  Schone,  Schumann,  Mendelssohn,  Pleyel,  Erard, 
Pfeiffer,  Henry  F.  Miller. 


PART    TWO 

CHAPTER  III 

Art  Pianos 

A  ET  is   described    as   the    "  harmonious    beautiful,"      An 

Z-^       artist  must  therefore  not  only  have  a  highly  developed 

•^    '^'    sense  of  truth,  the  grand,  noble  and  beautiful,  but  also 

the  ability  to  give  form  to  his  ideals  in  an  absolutely  pleasing 

manner. 

Piano  making  has  not  as  yet  been  developed  to  a  positive 
science  with  fundamental  laws,  but  it  has  ever  been  an  art,  calling 
for  a  familiarity  on  the  part  of  the  piano  constructor  with  all  of 
the  liberal  arts,  more  particularly  music,  architecture,  sculpture 
and  painting.  An  inborn  talent  for  music  is  the  first  requisite  of 
an  artistic  piano  maker.  His  sense  of  harmony  must  be  acute,  so 
that  he  may  distinguish  the  finest  shadings  in  tone  color.  He  must 
he  capable  of  mentally  hearing  the  klangfarhe  which  he  desires 
to  impart  to  his  piano,  or  create  in  it.  He  draws  his  scale  irre- 
spective of  form  or  size,  because  so  far  he  only  seeks  to  produce 
tone.  After  succeeding  in  getting  the  tone  quality  and  quantity 
he  desires,  he  begins  to  construct  the  frame  and  casing  of  his 
piano,  for  which  a  knowledge  of  architecture  and  talent  for  de- 
signing are  imperative.  He  next  calls  on  the  sculptor  for  plastic 
decoration,  and  on  the  painter  for  higher  embellishment  by 
appropriate  pictures  to  finally  achieve  the  harmonious  beautiful. 

187 


188  PIANOS  AND  THEIR  MAKERS 

Art  is  a  passionate  expression  of  ideal  conception  and  develops 
only  after  a  nation  has  accumulated  sufficient  wealth  to  enable 
some  of  its  higher  intellects  to  devote  themselves  to  art  and  science 
without  regard  to  financial  reward.  The  true  artist  dreams,  thinks 
and  works  for  art's  sake  only.  He  is  altogether  too  sensitive  for 
barter  and  trade,  and  needs  the  freedom  of  financial  independence, 
the  enjoyment  of  luxuries  and  the  inspiration  of  the  beautiful  as 
a  necessary  stimulant  and  requisite. 

The  first  art  pianos  were  constructed  by  the  early  Italian 
makers.  After  Geronimo  had  invented  his  wing-formed  harpsi- 
chord, he  embellished  the  outer  case  of  the  same  with  artistic  carv- 
ings, as  shown  on  the  instrument  of  his  make  at  the  South  Ken- 
sington Museum  in  London.  Alessandro  Trasunti  and  other 
Italian  makers  improved  greatly  on  Geronimo 's  efforts  and  built 
special  cases  detachable  from  the  body  of  the  instrument.  These 
cases  were  decorated  with  exquisite  carvings,  embellished  with 
inlaid  ivory  designs  and  often  with  pictures  painted  by  masters. 

That  celebrated  maker,  Hans  Euckers  of  Antwerp,  called  on 
his  friends  among  the  great  Flemish  painters  to  enhance  the 
beauty  and  value  of  his  harpsichords  by  painting  pictures  upon 
them.  Indeed,  his  connection  with  the  artists  was  so  intimate  that 
he,  as  well  as  his  son  and  his  nephew,  were  elected  members  of 
the  "  Painters  Guild,  of  St.  Luke."  Many  specimens  of  the  old 
Italian  and  Flemish  school  are  to  be  found  in  the  collection  of 
old  instruments  of  Paul  De  Wit  of  Leipsic,  Wilhelm  Heyer  of  Co- 
logne, Morris  Steinert  of  New  Haven,  the  Kensington  Museum  of 
London  and  the  Germanic  Museum  at  Nuremberg.  The  paintings 
upon  many  of  these  instruments  oftentimes  represent  a  value 
much  greater  than  that  of  the  piano  alone. 

Cost  is  never  considered  in  the  building  of  an  art  piano.  The 
designer  and  executing  artists  are  given  full  liberty  to  work  out 
their  ideas  in  accordance  with  the  desired  style.     Burkat  Shudi 


THE  ART  PIAXO  189 

built  for  Frederick  the  Great  a  highly  decorated  harpsichord,  for 
which  he  received  one  thousand  dollars,  an  enormous  amount,  con- 
sidering the  money  value  of  those  days;  his  successors,  John 
Broadwood  &  Sons,  not  long  ago  built  for  Sir  Alma  Tadema  an 
art  grand  costing  many  thousand  dollars.  In  richness  of  design 
and  brilliancy  of  execution  this  instrument  is  unique.  The  art 
grand  of  Erard  is  an  exquisite  specimen  of  that  artistry  so  pecu- 
liar to  French  genius  and  handicraft  when  unlimited  freedom  is 
given  to  fantasy,  regardless  of  cost.  Mr.  Marquandt  of  New  York 
is  said  to  have  paid  forty  thousand  dollars  for  an  art  grand  piano 
built  by  Steinway  &  Sous,  after  special  design  of  Sir  Alma  Tadema. 
Johnston  Norman  of  London  executed  the  embellishments  under 
Sir  Alma's  personal  direction  and  Sir  Edward  Poyuter  painted 
his  picture,  "  The  Wandering  Minstrels,"  upon  the  lid.  It  took 
fully  five  years  to  finish  this  marvel  of  combined  arts. 

At  the  White  House  in  Washington,  D.  C,  is  the  one-hundred- 
thousandth  piano  built  in  the  factories  of  Steinway  &  Sons.  It 
was  presented  by  that  firm  to  President  Roosevelt,  for  the  Ameri- 
can people.  The  designs,  models  and  decorations  for  this  piano 
are  the  combined  work  of  the  most  noted  sculptors  and  architects 
of  America.  The  painting  is  by  Thomas  W.  Denning.  The  total 
cost  of  the  piano  was  about  $20,000. 

Ludwig  Bosendorfer  furnished  the  Empress  Elizabeth  of 
Austria  with  an  art  grand,  in  the  decoration  of  which  the  sculp- 
tor's art  predominates  to  an  overwhelming  degree,  showing  a 
most  masterly  treatment  of  wood  in  its  highest  capacity  for  the 
display  of  artistic  genius.  In  contrast  to  the  above  we  have  Rudolf 
Ibach  Sohn's  Jubilee  grand,  being  the  fifty-thousandth  production 
of  his  factories.  Its  graceful  lines  and  chaste  decorations  are 
eminently  pleasing  and  restful. 

The  house  of  Ibach  has  been  in  the  front  rank  in  the  propa- 
ganda for  artistry  in  piano  case  designing,  and  their  "  Memorial," 


190  PIANOS  AND  THEIR  MAKERS 

published  in  1894,  the  one-hundredth  anniversary  of  the  founding 
of  their  firm,  ought  to  be  in  the  hands  of  every  studious  piano 
maker.  It  contains  a  most  excellent  collection  of  designs,  many 
of  which  would  have  a  place  in  this  work,  if  space  permitted. 

That  there  are  no  limitations  to  the  artist's  desires  or  inclina- 
tions in  designing  and  embellishing  piano  cases  is  shown  in  the 
Baldwin  art  grand.  The  realistic  tendency  of  the  modern  school 
is  depicted  in  a  masterly  manner  in  the  sculpturing  of  Mr.  C.  T. 
Barnhorn,  also  in  the  general  design  of  the  case  by  Mr.  I.  H.  Guest, 
both  of  Cincinnati,  Ohio.  The  Bliithner  art  grand  is  impressive 
because  of  the  severity  of  the  design,  an  example  of  the  dominat- 
ing boldness  of  the  "  new  school." 

The  Weber  Piano  Company  has  made  the  building  of  art 
pianos  a  specialty  for  many  years.  The  accompanying  picture 
represents  one  of  their  Louis  XIV  style  grand  pianos,  designed 
by  W.  P.  Stymus,  Jr. 

The  art  grand  piano  of  Pleyel,  Lyon  &  Company  is  a  beautiful 
specimen  of  Renaissance  design,  while  the  upright  shows  a  most 
effective  application  of  the  Gothic  style. 

The  Chickering  grand  in  Louis  XIV  style  is  a  typical  produc- 
tion of  Chickering  &  Sons'  art  department.  The  Sheraton  grand 
of  the  Everett  Company,  designed  by  John  Anderson,  with  paint- 
ings by  Samuel  Hay  ward,  is  a  specimen  of  the  Everett  Company's 
art  work.  The  "  Nouveau  Art  "  grand  of  Knabe  &  Company 
is  from  their  catalogue  of  art  pianos,  in  which  all  dominant  styles 
are  represented. 

Nearly  all  the  leading  firms  of  piano  makers  during  the  past 
twenty  years  have  added  special  departments  to  their  establish- 
ments for  the  creation  of  art  pianos,  employing  their  own  de- 
signers and  executing  artists.  The  architects  of  modern  mansions 
insist  that  the  design  of  the  piano  as  well  as  of  the  furniture  must 
be  in  harmony  with  the  architecture  of  the  room  in  which  it  is 


/^■?^*«» 


Alessaiuho  Tnisiinti's  Art  Harpsicliord,   1531 


Hans   Ruckeis'  Double  Spinet,  witli  Paintings.  Antwerp,   1500 


Jolin  Broadwood  &  Sons'  Art  Grand,  Built  for  Sir  Alma  Tadema 


Ludwig  BOsendorfer  Art  Grand.     Built  for  Empress  Elizabeth  of  Austria 


Rudolf  Ibach  Sohn  Jubilee  Art  Grand 


Julius  Bliithner  Art  GrauJ 


Erard  Art  Grand 

Designed  by  Coupri 


I'leyel,  Lyon  &  Couijjany  Renaissance  Art  Grand 


Pleyel,  Lyou  &  Company  Gothic  Upright 


Steinwtiy  &.  bous  Art  Gnmd  Piuiio  miulc  for  Frederick  Marquaudt 
of  2vew  York  City.     Cost  $40,000 


Steinway  &  Sons   One-liundred-thousandth  Piano,  at  the  White  House,  Washington,  D.  C. 
Paintings  bv  Thomas  W.  Denning.    Cost  $20,000 


Baldwin  Art  Grand 


Weber  Louis  XIV  Art  Grand 


Chickering  &  Sous    Louis  XIV  Art  Grand 


^ 


Everett  Piano  Company  tSheraton  Art  Grand 


Williaiu  Kuabe  &  Compauy  '•^souvxau  Art"  Graud 


TIIIil  PEDAL  PIANO  191 

to  be  placed.  This  extended  use  of  correct  styles  in  art  pianos 
has  favorably  influenced  the  general  design  of  the  commercial 
piano  of  the  present  day,  the  form  and  exterior  of  which  are 
of  a  much  more  agreeable  and  pleasing  character  than  the  cold 
conventional  designs  of  former  years.  Thus  we  find  the  ennobling 
influence  of  art  penetrating  the  industry,  and  quietly  fulfilling  its 
mission  of  elevating  character  and  taste. 

The  Pedal  Piano 

Since  the  church  organ  had  been  developed  to  perfection  long 
before  the  piano  was  invented,  and  the  first  piano  makers  were 
recruited  almost  entirely  from  the  organ  maker's  guild,  it  is 
reasonable  to  suppose  that  "  pedal  pianos  "  were  constructed  in 
the  early  days  of  the  piano  industry,  although  we  have  no  record 
of  any  up  to  the  year  1843,  when  the  author's  uncle,  Louis  Schone, 
constructed  pedal  pianos  for  Robert  Schumann  and  Felix  Mendels- 
sohn at  Leipsic.  Schone  constructed,  for  Mendelssohn,  a  pedal 
mechanism  to  be  used  with  a  grand  piano,  but  Robert  Schumann 
preferred  his  pedal  action  connected  with  the  regular  upright 
piano.  The  keyboard  for  pedaling  was  placed  under  the  keyboard 
for  manual  plaj'ing,  had  29  notes  and  was  connected  with  an 
action  placed  at  the  back  of  the  piano  where  a  special  soundboard, 
covered  with  29  strings,  was  built  into  the  case.  As  is  well  known, 
Schumann  wrote  some  of  his  best  music  for  this  novel  instrument. 

Erard  and  Pleyel  also  built  pedal  pianos  in  Paris,  and  it  can 
hardly  be  doubted  that  Henri  Pape  also  tried  his  hand  at  it, 
because  there  has  ever  been  a  demand  for  such  instruments,  by 
organists,  for  practice  purposes.  In  America  the  Henry  F.  Miller 
&  Sons  Piano  Company  has  for  years  made  a  specialty  of  building 
pedal  pianos  for  organists. 

Carl  J.  Pfeiffer  of  Stuttgart  has  devoted  himself  of  late  years 
to  the  improvement  of  this  instrument,  with  very  satisfactory  re- 


192 


PIAXOS  AXD  THEIR  MAKERS 


Carl  J.  Pfeiffer's  Action  for  Pedal  Upright  Pianos 


Carl  J.  Pfeiffer's  Attachment  for  Pedal  Grand  Piano 


THE  PEDAL  PIANO 


193 


Carl  J.  Pfeiffer's  Upright  Piano  for  Pedal  Practice 


Carl  J.  Pfoifl'er's  ^Mechanism  for  Organ  Pedal  Practice 


194  PIANOS  AND  THEIR  MAKERS 

suits.  Using  the  iron  frame  and  overstrung  system,  liis  pedal 
tones  are  sonorous  and  powerful  and  the  pedal  action  almost  the 
same  in  touch  as  the  organ  pedal.  His  independent  pedal  can 
be  easily  attached  to  a  grand  piano,  as  shown  in  the  illustration, 
while  for  upright  pianos  the  pedal  is  placed  under  the  framework 
of  the  piano.  A  very  ingenious  and  valuable  invention  is  Pfeiffer's 
mechanism  for  organ  pedal  practice,  which  can  be  built  into  any 
upright  piano  and  used  without  affecting  the  touch  for  hand  play- 
ing. As  the  illustration  shows,  the  pedal  mechanism  is  so  con- 
structed as  to  relieve  the  piano  action  instantly  when  the  foot  is 
removed  from  the  pedal.  These  two  practical  inventions  of  Pfeif- 
fer's  have  been  thoroughly  tried  out  by  prominent  organists  and 
are  highly  recommended,  not  only  for  practice  purposes,  but  also 
for  the  music  lover  who  enjoys  the  study  of  Bach's  immortal  pre- 
ludes and  fugues  or  Schumann's  beautiful  sketches  for  pedal 
pianos,  not  to  speak  of  Liszt's  Orpheus  and  transcriptions  of  Gott- 
schalk's  repertoire,  and  others. 

Pfeiffer's  inventions  have  two  cardinal  virtues.  They  are  emi- 
nently practical  and  at  the  same  time  inexpensive,  which  ought 
to  aid  in  a  more  general  introduction  of  the  pedal  i)iano  in  the 
future. 

The  Player  Piano 

Originally  condemned,  laughed  at  as  a  useless  plaything,  or 
at  best  a  brother  to  the  barrel  organ,  the  player  piano  has  forged 
rapidly  to  the  front  during  the  past  four  or  five  years. 

The  unsightly  cabinet  player  had  to  blast  the  way  for  the  player 
piano.  Its  low  cost  made  an  aggressive  advertising  campaign 
possible.  Thousands  were  sold  and  the  public  became  acquainted 
with  the  possibilities  of  player  mechanism.  The  cabinet  player 
became  obsolete  as  soon  as  properly  constructed  player  pianos  at 
moderate  prices  appeared  on  the  market,  and  became  such  favorites 


THE  PLAYER  PIANO  195 

that  the  most  obstinate  opponents  of  the  player  piano  among  the 
piano  manufacturers,  were  forced  to  recognize  its  commercial  im- 
portance. 

With  the  introduction  of  the  88-note  compass,  the  artistic 
possibilities  are  almost  without  limitations,  and  the  time  is 
not  far  distant  when  music  will  be  specially  written  for  the 
player  piano,  of  such  technical  complexion  as  to  preclude  its  per- 
formance by  hand. 

The  player  piano  is  opening  up  an  entirely  new  and  much 
larger  field  than  the  piano  proper  ever  had.  Considering  the  in- 
crease from  50  factories  producing  25,000  pianos  in  1869,  to  200 
factories  turning  out  350,000  pianos  in  1910,  it  seems  difficult  to 
form  any  estimate  of  the  magnitude  which  the  industry  may  as- 
sume in  the  future,  when  the  j)layer  piano  has  reached  its  ultimate 
development. 


PART  TWO 


CHAPTER  IV 


Export^  Steinway,  Aeolian. 

Methods  of  Marketing,  The  Agency  System. 


PART    TWO 

CHAPTER  IV 
Export 

A  MOVEMENT  of  a  most  peculiar  character  must  be  men- 
tioned in  this  connection,  namely,  the  transplanting  of 
American  manufacturing  methods,  by  American  manu- 
facturers, to  Europe.  When  Sebastian  Erard  closed  his  shops 
in  Paris  and  went  to  London  to  start  a  factory  in  the  British 
metropolis,  he  was  driven  there  by  the  terrors  of  the  French 
revolution.  He  returned  to  Paris  as  soon  as  peace  was  restored, 
maintaining  his  London  establishment,  however,  in  charge  of  his 
nephew,  Pierre.  This  is  the  only  instance  on  record  where  a 
piano  manufacturer  removed  his  business  from  his  own  country 
to  another.  Now  the  American  manufacturers  are  going  over  to 
Germany  and  England,  establishing  branch  factories  for  their 
products,  to  better  supply  their  European  and  export  trade. 

Steinway  &  Sons  started  their  Hamburg  factories  about  1880. 
The  Aeolian  Company  a  few  years  ago  established  a  factory  at 
Gotha,  Germany,  for  making  the  Steck  pianos  and  is  now  erecting 
a  large  factory  near  London  for  the  Weber  piano. 

Owing  to  high  i^rice  of  labor  and  to  undeveloped  shipping  and 
banking  facilities,  the  American  piano  manufacturer  cannot  look 
for  any  extended  export  business.  As  a  matter  of  fact,  there  is 
nowhere  on  the  globe  such  a  good  market  as  the  United  States 
at  the  jDresent  time.    Because  of  the  prevailing  high  standard  of 

199 


200  PIANOS  AND  THEIR  MAKERS 

living,  an  American  city  with  a  population  of  100,000  can  and  does 
buy  more  pianos  than  any  South  American  republic  with  2,000,000 
inhabitants,  of  which  only  a  small  fraction  are  able  to  wear  shoes. 
Australia,  with  its  5,000,000  people,  does  not  take  over  3,000 
pianos  per  year.  Japan  is  beginning  to  make  its  own  pianos,  while 
China,  with  a  population  of  over  400,000,000,  buys  hardly  any 
pianos.  The  same  can  be  said  of  almost  all  other  Asiatic  nations. 
It  is,  therefore,  the  home  market  to  which  the  American  manu- 
facturer will  have  to  look  for  any  expansion  of  his  business,  al- 
though a  limited  business  offers  almost  everywhere  for  American 
player  pianos  of  competitive  value  or  superior  quality. 

Methods  of  Marketing 

To  increase  sales,  the  product  must  be  brought  nearer  and 
nearer  to  the  masses,  by  lowering  the  cost  of  production  and  mar- 
keting. The  system  of  marketing  through  agents,  who  control  a 
restricted  territory,  practiced  by  the  leading  makers  of  America 
for  so  many  years,  has  served  its  purpose  and  is  not  in  harmony 
with  progressive  merchandising.  Joseph  P.  Hale  discovered  that 
truth  40  years  ago.  By  breaking  away  from  it  he  made  more 
money  in  his  time  than  any  other  piano  manufacturer. 

Makers  of  high  grade  as  well  as  commercial  pianos  who  still 
adhere  to  the  agency  system  will  eventually  be  compelled  to  sell 
their  pianos  as  any  other  product  is  sold,  namely,  to  whomsoever 
is  able  to  pay  for  it.  The  much  desired  one-price  system  is  utterly 
impossible  as  long  as  regularly  appointed  agents  control  the  sale, 
and  although  leading  houses  publish  their  retail  prices  to  the 
public,  competition  forces  deviation  in  many  instances. 

In  1881  the  author  found  at  Milan,  Italy,  a  piano  dealer  who 
carried  in  stock  grand  and  upright  pianos  of  all  the  leading 
makers  of  the  world.  It  was  a  most  interesting  study  to  play 
and  compare  the  Erard  with  the  Steinway,  the  Chickering  with 


METHODS  OF  MARKETING  201 

the  Pleyel,  the  Broadwood  or  CoUard  with  Bosendorfer  or  Bliith- 
ner,  and  Schroter  with  Schiedmayer,  so  interesting  that  I  gave 
up  a  whole  afternoon  to  that  pleasure,  until  night  overtook  me. 
Questioning  the  dealer  as  to  whether  it  was  not  at  times  embarrass- 
ing for  him  to  extol  the  merits  of  the  different  makes,  he  replied 
that  he,  as  a  dealer,  never  attempted  to  influence  his  customers  in 
their  selection  of  a  piano.  The  prices  were  all  marked  in  plain 
figures.  He  knew  that  all  of  the  pianos  were  of  the  highest  grade, 
and  since  tastes  as  to  tone,  case,  etc.,  differ,  he  preferred  to  have 
his  customers  select  whatever  appealed  to  them  as  best.  When- 
ever a  piano  was  sold  he  would  order  another  one  of  the  same 
make  to  keep  his  assortment  complete.  This  man  carried  about 
400  pianos  permanently  in  stock  and  did  the  largest  retail  business 
in  Italy.  I  left  his  warerooms  thoroughly  convinced  that  this  was 
the  projoer  way  to  handle  the  piano  selling  business.  He  was  a 
merchant,  high-toned,  enterprising,  carrying  on  his  business  in 
a  most  honest,  respectable  manner. 

In  the  large  cities  of  the  continent  of  Europe,  and  more  espe- 
cially in  London,  one  can  find  pianos  of  celebrated  makers  in 
several  warerooms,  although  the  maker  may  have  his  own  city 
showroom.  The  time  will  come  when  piano  manufacturers  will 
fix  the  wholesale  and  retail  price  for  their  product,  and  then  sell 
to  any  or  all  dealers  in  any  city  or  territory  without  any  other 
restrictions  than  the  maintenance  of  retail  prices,  as  established 
by  themselves.  Unless  this  system  is  adopted  the  manufacturers 
will,  because  of  the  practices  of  the  dealer  (born  of  the  agency 
system),  be  more  and  more  driven  into  combinations,  by  the 
strength  of  which  they  will  be  able  to  control  the  dealer  or  do 
their  own  distributing.  This  again  will,  as  a  matter  of  logical 
evolution,  lead  to  the  formation  of  greater  combinations,  ending 
in  the  so-called  trust,  as  illustrated  in  the  steel,  woolen  and  other 
dominant  industries. 


PART  TWO 

CHAPTER  V 

The  Trust  Movements  of  1892,  1897  and  1899 


PART    TWO 

CHAPTER  V 

The  Trust  Movements  of  1892, 1897  and  1899 

IN  the  spring  of  1892  I  was  invited  to  take  an  active  part  in 
the  formation  of  a  piano  trust.  My  studies  in  economics  had 
convinced  me  long  ago  that  the  trust  was  not  only  the  logical 
development  of  our  factory  system,  according  to  the  law  of  evolu- 
tion, but  in  some  instances  the  only  salvation  for  an  industry, 
which,  because  of  too  many  rivaling  establishments,  suffered  on  the 
one  hand  from  an  unreasonable  expense  account,  and  on  the 
other  from  over-competition,  both  of  which  reduced  profits  to  a 
minimum. 

The  piano  industry  was  not  in  dire  straits,  still  the  expense  of 
carrying  on  the  business  was  out  of  all  proportion  to  the  intrinsic 
value  of  the  product,  and  the  selling  methods  were  anything  but 
ethical.  The  greatest  evil,  however,  was  that  the  industry  as  a 
whole  was  suffering  from  lack  of  sufficient  working  capital. 

I  agreed  to  investigate  the  proposition  and  then  give  my  opin- 
ion as  to  the  feasibility  of  carrying  it  to  a  successful  conclusion. 
My  first  step  was  to  collect  statistics  as  a  basis  for  calculation. 
The  status  of  the  piano  industry  in  the  United  States  presented 
itself  as  follows: 

On  January  1,  1892,  132  firms  and  corporations  were  engaged 
in  the  manufacturing  of  pianos  and  organs  in  the  United  States, 

205 


206  PIANOS  AND  THEIR  MAKERS 

turning  out  about  91,500  pianos  and  92,750  organs  per  year,  of  a 

total  selling  value  of $22,235,000 

Cost  of  labor  and  material  amounted  to 13,362,500 

Leaving  a  margin  for  profit  and  expenses  of $  8,872,500 

If  all  or  at  least  a  majority  of  the  manufacturing  concerns 
could  be  merged  into  one  great  corporation,  it  would  be  possible 
to  carry  on  a  business  of  manufacturing  pianos  and  organs,  mak- 
ing only  four  kinds  of  instruments :  namely, 

First,  artists'  jnanos  and  organs,  which  should  be  of  the  high- 
est grade  and  command  the  highest  prices  paid  now  for  such  instru- 
ments. Second,  a  first-class  instrument.  Third,  a  medium-grade 
instrument.    Fourth,  a  low-grade  instrument. 

It  was  proposed  to  capitalize  this  corporation  at  fifty  million 
($50,000,000)  dollars.  Fair  and  just  value  was  to  be  allowed  to 
each  concern  for  its  property.  The  atfairs  of  the  corporation  were 
to  be  managed  by  a  Board  of  Directors,  elected  by  the  share- 
holders and  chosen  from  the  ranks  of  the  most  experienced  men 
engaged  in  the  manufacture  and  sale  of  pianos  and  organs. 

The  General  Purchasing  and  Contract  Company  was  organized 
under  the  laws  of  West  Virginia,  with  a  capital  of  $1,000,000. 
This  contract  company  was  to  conduct  the  purchase  of  the  various 
piano  and  organ  concerns,  and,  as  soon  as  a  sufficient  number  of 
options  were  secured,  the  American  Piano  and  Organ  Company 
was  to  be  started. 

On  May  12,  1892,  the  contract  company  entered  into  an  agree- 
ment with  a  syndicate,  composed  of  a  number  of  leading  New  York 
bankers  who  obligated  themselves  to  provide  capital  to  the  amount 
of  $5,000,000,  to  facilitate  the  purchasing  of  such  manufacturing 
concerns  as  either  needed  money  to  cancel  their  liabilities  or  pre- 
ferred to  sell  for  cash  instead  of  taking  the  securities  of  the  Ameri- 
can Piano  and  Organ  Company  for  their  plants  and  chattels. 


THE  TRUST  MOVEMENT  207 

One  of  the  main  reasons  why  the  leading  bankers  were  invited 
to  assist  in  the  enterprise  was  to  insure  their  active  support  of 
the  securities  of  the  American  Piano  and  Organ  Company  as  soon 
as  they  were  listed  on  the  Stock  P]xchange.  Being  interested  by 
prospective  loans  up  to  five  million  ($5,000,000)  doUars,  for  which 
they  woukl  hold  the  securities  of  the  American  Piano  and  Organ 
Company,  these  bankers  would,  for  their  own  interests,  give  the 
strength  of  their  influence  and  manifold  connections  to  the  enter- 
prise and  to  the  marketing  of  these  securities. 

The  financial  basis  of  the  undertaking  being  arranged  in  a 
proper  and  satisfactory  manner,  the  emissary  of  the  contract  com- 
pany took  the  field,  submitting  to  the  piano  and  organ  manufac- 
turers the  proposition. 

It  will  be  observed  that  the  scheme  was  a  bankers'  proposition. 
Its  aim  was  to  i)rocure  the  necessary  outside  capital  to  put  the 
industry  on  a  proper  footing  and  upon  a  safe  financial  basis  for 
legitimate  expansion.  Neither  the  scope  nor  aim  of  the  proposi- 
tion were,  however,  properly  understood  and  comprehended  by 
the  majority  of  the  manufacturers,  and  the  negotiations  leveled 
down  in  most  cases  to  a  bargaining;  the  seller  asking  an  unrea- 
sonable price  and  the  buyer  trying  to  obtain  options  at  workable 
values.  The  amusing  fact  developed  that  almost  every  seller 
objected  to  "  water  "  and  found  fault  with  what  he  considered  an 
over-capitalization;  at  the  same  time  he  would  ask  such  an  enor- 
mous price  for  his  own  property  that,  if  a  corresponding  amount 
was  allowed  to  all  sellers,  it  would  have  been  necessary  to  increase 
the  capital  stock  of  the  American  Piano  and  Organ  Company 
threefold,  thereby  making  it,  of  course,  of  proportionately  less 
value. 

In  spite  of  the  bitter  opposition  of  the  trade  press,  the  "supply 
trades  and  other  interests  that  erroneously  feared  to  suffer  if  the 
trust  should  become  a  fact,  a  sufficient  number  of  strong  firms 


208  PIANOS  AND  THEIR  MAKERS 

and  corporations  saw  the  great  advantage  to  be  obtained,  to  as- 
sure the  success  of  the  undertaking,  when  the  great  panic,  starting 
in  April,  1893,  put  a  sudden  stop  to  all  further  negotiations  and 
the  scheme  was  abandoned. 


1S97 

During  the  trying  years  of  free-trade  experiment,  from  1893 
to  1897,  the  piano  industry  stood  up  well  as  compared  with  other 
industries.  Comparatively  few  failures  were  recorded,  and  at 
the  end  of  that  long  period  of  business  depression  the  industry 
could  even  boast  of  an  increase  in  production.  This  remarkable 
showing  had  not  been  overlooked  by  the  banking  fraternity,  but 
it  was  also  known  that  the  piano  manufacturers  were  very  heavy 
borrowers  through  all  those  years.  However,  the  fact  that  the 
industry  did  enjoy  this  credit  proved  its  inherent  strength  and 
soundness,  and  the  trust  idea  was  again  taken  up  in  earnest. 

Many  of  the  manufacturers  who  in  1892  had  stood  aloof,  or 
had  directly  opposed  the  trust  idea,  now  looked  rather  favorably 
upon  the  proposition  and  it  appeared  as  if  the  project  might  be 
carried  through.  Nearly  all  those  who  had  supported  the  move- 
ment of  1892  again  took  an  active  part  in  the  new  effort.  On 
September  21,  1897,  the  "  Columbia  Investment  Company  "  was 
organized  and  incorporated  under  the  laws  of  New  Jersey  with  a 
capital  of  one  million  ($1,000,000)  dollars.  This  company  entered 
upon  an  agreement  with  a  syndicate  of  bankers  who  obligated 
themselves  to  advance  up  to  five  million  ($5,000,000)  dollars  for 
the  purpose  of  acquiring  the  various  piano  factories.  All  the 
contracts  and  agreements  were  similar  to  those  of  the  1892 
attempt. 

Several  of  the  largest  manufacturers  declared  their  willing- 
ness to  join  the  consolidation,  but  the  difficulty  arose  how  to  deal 


THE  TRUST  MOVEMENT  209 

justly  and  fairly  with  all  the  desirable  concerns.  While  appar- 
ently the  manufacturer  sold  his  business  to  a  new  company,  he  was 
still  largely  interested  as  a  shareholder  in  this  concern.  To  assure 
lasting  success,  all  deals  had  to  be  made  on  a  sound  business  basis 
and  real  value  had  to  be  shown  for  the  shares  issued  to  the 
vendors. 

Notwithstanding  the  fact  that  a  number  of  the  largest  manu- 
facturers had  either  executed  agreements  or  had  reached  the  point 
of  willingness  to  sell  to  the  Columbia  Investment  Company,  the 
enterprise  had  to  be  abandoned  because  of  the  state  of  the  money 
market,  which  made  the  sale  of  new  securities  impossible  for  a 
long  time  to  come. 

1899 

In  the  early  part  of  1899  the  trust  scheme  was  again  revived, 
but  upon  an  entirely  different  basis  and  plan  than  that  applied  in 
1892  and  1897.  To  eliminate  the  large  expense  connected  with  the 
obligations  to  an  underwriters'  syndicate,  it  was  proposed  to 
invite  only  such  concerns  into  the  combination  as  could  take  care 
of  their  own  liabilities.  The  allotment  of  shares  of  stock  was  to 
be  based  on  a  proper  ratio  to  the  net  profits  shown  for  the  previous 
five  years,  with  due  consideration  of  the  value  of  all  tangible 
assets. 

Although  this  new  plan  appealed  strongly  to  a  number  of  the 
leading  manufacturers,  petty  jealousy,  the  fear  that  one  or  the 
other  might  be  treated  more  liberally  and  the  reluctance  of  being 
among  the  first  to  sign,  even  after  an  agreement  had  been  reached, 
made  the  negotiations  so  wearisome  and  tedious  that  the  proposi- 
tion was  dropped  for  good  after  one  month's  work  in  the  field. 

The  piano  trade  was  not  ready  to  make  the  proper  start  on  its 
predestinated  career  of  greater  development.  Only  a  few  of  the 
manufacturers  had  the  broad  vision  for  such  a  perspective  as  this 


210  PIANOS  AND  THEIR  MAKEES 

combination  scheme  offered.  Besides,  an  unexi^ected  wave  of  pros- 
perity such  as  the  piano  industry  had  never  before  experienced 
began  to  make  itself  felt  and  almost  everybody  was  perfectly  sat- 
isfied with  existing  conditions. 

In  the  light  of  the  marvelous  development  of  the  piano  trade 
since  1892,  the  above  related  efforts  are  of  historical  value. 

Like  all  other  large  industries,  the  piano  industry,  by  force  of 
conditions,  will  eventually  be  driven  to  the  economic  necessity  of 
combination  in  order  to  stay  in  the  procession  for  industrial  de- 
velopment and  to  perform  its  duty  to  the  people,  providing  musical 
instruments  of  quality  at  lowest  cost  and,  furthermore,  to  take 
proper  care  of  its  wage  workers  by  providing  adequate  pensions 
for  them  when  their  economic  efficiency  comes  to  an  end.  The 
great  railroad  combinations,  the  Standard  Oil  Company,  the 
United  States  Steel  Corporation,  the  International  Harvester  Com- 
pany, the  packers  and  many  other  large  combinations  are  pursuing 
this  policy  as  a  part  of  the  duties  which  they  owe  to  the  people 
at  large.  Despite  all  the  opposition  by  sensational  writers  and 
unthinking  people  against  the  so-called  trusts,  the  fact  is  patent 
that  all  of  these  combinations  do  serve  the  public  better  than  it 
was  ever  served  before.  The  most  noticeable  illustration  is  found 
in  the  great  department  stores,  which  have  adopted  the  one-price 
system  in  their  piano  departments.  Their  example  will  eventu- 
ally force  every  piano  dealer  to  do  likewise. 


PART   THREE 

Men  Who  Have  Made  Piano  History 

CHAPTER  I 

Italy,  Giiido  of  Arezzo,  Spinnetti,  Geronimo,  Cliristofori,  Fischer, 
Sievers,  Roseler,  Mola. 

Germany,  Silbermann,  Stein,  Nannette  Stein,  Streiclier,  Bosen- 
dorfer,  Seutfert,  Elirbar,  Schweighofer,  Heitzmann,  The 
Ibachs,  Ritmiiller,  Rosenkrantz,  Irmler,  The  Sehiedmayers, 
Kaim  &  Giinther,  Dorner,  Lipp,  Wagner,  Pfeiffer,  Rohlfing, 
Knake,  Adam,  Heyl,  Vogel,  Lindner,  Meyer,  Mand,  Gebauhr, 
Thiirmer,  Steinweg,  Grotrian,  Zeitter  &  "Winkehnann,  Busch- 
mann,  Rachals,  Scheel,  Bliithner,  Ronisch,  Feurich,  Isermann, 
AVeickert,  Poehlmann. 

England,  Shudi,  Broadwood,  Collard,  Challen,  Hopkinson,  Brins- 
mead,  Chappell,  Eavestaff,  Sqnire,  Grover,  Barnett,  Poehl- 
mann, Strohmenger,  AVitton,  Allison,  Monuington  &:  Weston. 


PART    THREE 

CHAPTER  I 

Men  Who  Have  Made  Piano  History 
Introduction 

ONE  of  the  remarkable  peculiarities  of  the  piano  industry 
is  the  great  value  of  an  established  name.  His  name  is 
the  piano  maker's  trade-mark,  and  that  concern  is  fortu- 
nate that  controls  a  name  which  is  impressive,  euphonious,  easy 
to  spell,  easy  to  pronounce,  easy  to  remember — in  short,  of  such 
a  character  that  it  cannot  be  easily  confounded  and  always  will 
make  a  lasting*  impression. 

Shakespeare's  often  quoted  phrase,  "  What's  in  a  name  ?  That 
which  we  call  a  rose,  by  any  other  name  would  smell  as  sweet,"  does 
not  hold  true  in  the  piano  business.  The  maker's  name  on  a 
piano  carries  everlasting  responsibility  with  it.  But  this  is  not 
the  only  significance  of  the  maker's  name  on  a  piano.  Every 
piano  maker  who  loves  his  art  for  the  art's  sake,  is,  as  a  matter 
of  course,  a  man  of  pronounced  individuality,  and  he  impresses 
his  individuality  upon  his  creation.  Thus  it  comes  that  we  hear 
virtuosos  and  connoisseurs  speak  of  the  Erard,  the  Broadwood, 
the  Bliithner,  Steinway  or  Chickering  "  tone,"  signifying  that 
each  maker's  pianos  have  an  individuality  of  their  own  in  tone 
and  Mangfarhe.  This  individuality  is  so  carefully  guarded  that 
we   find   older   firms    always    reluctant   to    adopt    new   methods 

213 


214  PIANOS  AND  THEIE  MAKERS 

of  construction  or  other  innovations.  They  fear  that  any  change 
may  rob  their  instruments  of  their  most  cherished  individuality, 
their  characteristic  tone  and  klangfarhe. 

Not  only  the  tone  quality  and  volume  reflect  the  maker's  indi- 
viduality, the  workmanship  of  the  entire  piano  is  guaranteed  by 
the  maker's  name,  and  his  name  will  live  or  die  as  his  instru- 
ments are  built  to  last  or  not.  The  reputation  of  the  instrument 
which  a  piano  maker  produces  follows  him  beyond  his  grave,  often 
for  generations. 

In  due  appreciation  of  the  overshadowing  importance  of  a 
proper  name  and  its  commercial  value,  many  of  the  leading  mem- 
bers of  the  craft  did  not  hesitate  to  give  up  their  family  name, 
no  matter  how  honorable  it  was  made  by  their  ancestors.  When- 
ever necessary  or  advisable,  they  changed  the  same,  so  as 
to  give  it  the  desired  distinction.  We  find  Burckhardt  Tschudi 
changing  his  name  to  Burkat  Shudi,  Ehrhardt  to  Erard,  Schu- 
macher to  Schomacker,  Steinweg  to  Steinway,  etc.,  and  quite 
properly  so!  Would  not  an  unpronounceable  name  on  the  fall 
board  kill  the  best  piano  as  a  commercial  proposition?  Not  to 
think  of  its  impossibility  on  a  concert  program! 

Names  once  identified  with  a  good  piano  are  never  changed, 
even  if  in  course  of  time  no  scion  of  the  founder  is  connected  with 
the  firm  or  corporation  making  the  piano.  Neither  genius  nor 
talent  can  be  transferred  from  father  to  son,  or  grandson,  by 
mere  teaching  or  example.  Artists  are  born,  and  very  seldom 
do  following  generations  show  any  trace  of  their  progenitors'  in- 
born ability.  If  that  were  not  so,  we  would  have  more  Rafaels, 
Eubens,  Shakespeares,  Goethes,  Wagners  or  Darwins.  On  the 
contrary  the  real  genius  usually  exhausts  his  talents  during  his 
lifetime,  and  new  blood  has  to  be  injected  to  maintain  the  standing 
of  firms  founded  by  men  who  ranked  far  alcove  their  contempo- 
raries.   Notable  exceptions  simply  i^rove  this  rule.     To  maintain 


MEX  WHO  MAKE  PIANO  HISTORY  215 

the  exalted  position  of  a  leading  firm,  proper  respect  must  always 
be  paid  to  the  honor  of  its  illustrious  founder  or  founders,  by 
unceasing  efforts  to  better  the  product  and,  with  due  rever- 
ence to  its  artistic  re})utation,  to  imijrove  volume  and  quality  of 
tone  in  harmony  with  its  fundamental  individuality.  This  requires 
genius,  and  wherever  artistic,  mechanical  and  commercial  genius 
are  combined,  success  is  inevitable.  Each  by  itself  may  make  a 
mark,  an  impression,  but  only  the  combination  of  the  three  under 
guidance  of  a  strong  mind  can  achieve  lasting  success  in  the  piano 
business.  The  history  of  the  piano  industry  from  its  beginning 
to  the  present  day  proves  that. 


Italy 

In  the  town  of  Arezzo  a  boy  was  born  toward  the  end  of  the 
10th  century  who  was  christened  Guido.  Intended  to  wear  the 
cloth,  Guido  was  sent  to  a  monastery  to  study  the  Holy  Book  and 
lead  a  life  of  abstinence  and  devotion,  but  Guido  had  a  soul,  and 
that  soul  was  full  of  music.  Books  did  not  interest  him  unless 
they  spoke  of  music.  He  invented  a  new  system  of  music,  so  revo- 
lutionary in  its  character  that  the  staid  old  monks  drove  Guido  out 
of  the  monastery. 

The  name  of  Guido  of  Arezzo  is  indelibly  marked  in  history, 
for  establishing  the  principle  and  system  of  notation  of  music. 
By  his  new  system  a  scholar  could  acquire  within  five  months  as 
much  knowledge  of  music  as  would  otherwise  require  ten  years 
of  study.  After  his  fame  spread  through  the  civilized  world 
Guido  was  called  back  into  the  fold  and  instructed  even  the 
Pope  in  his  new  method.  He  died  as  ]n'ior  of  Avellano,  ]\ray  17, 
1050. 

Correctly,  or  not,  Guido  is  also  credited  with  the  invention  of 
the  movable  bridge  on  the  monochord,  and  of  the  keyboard.    He 


216  PIANOS  AND  THEIR  MAKERS 

was  so  great  a  genius,  so  strong  a  character,  that  historians  of 
later  days  did  not  hesitate  in  crediting  to  him  all  the  progressive 
events  and  inventions  in  the  realm  of  music  happening  in  Guide's 
time,  some  going  so  far  as  to  ascribe  to  him  even  the  invention  of 
the  clavichord. 

No  records  are  available,  telling  us  anything  regarding  the 
Venetian  Giovanni  Spinnetti,  who  invented  the  spinet  about  1503 ; 
nor  of  Geronimo  of  Bologna,  who  gave  us  the  harpsichord 
in  1521,  but  the  instruments  of  these  two  makers  which  are 
still  in  existence  are  speaking  examjjles  of  their  genius  and 
talents. 

Padua  claims  the  honor  of  being  the  birthplace  of  Bartolomo 
Christofori,  but  in  1710,  when  27  years  of  age,  we  find  Christofori 
enjoying  an  easy  life  at  the  court  of  the  Duke  of  Tuscany  at 
Florence,  engaged  in  building  clavichords,  spinets  and  other  musi- 
cal instruments  for  the  prince  and  his  courtiers.  Whether  Chris- 
tofori allowed  his  genius  to  drive  him  to  over-exertion,  or  whether 
the  sybaritic  life  at  the  court  of  the  wealthy  and  luxurious 
prince  shortened  his  life  is  not  known;  he  died  in  1731  when 
only  48  years  old,  leaving  to  the  world  his  great  invention,  the 
piano  e  forte. 

Italy  has  not  produced  another  great  piano  maker  since  Chris- 
tofori. Mola  of  Turin  has  built  up  a  very  large  business  and  is 
to-day  the  mainstay  of  the  industry  in  his  country,  but  he  has 
not  gone  on  record  as  an  independent  constructor.  Roseler,  who 
also  founded  a  large  establishment  at  Turin  about  1850,  and  was 
appointed  by  the  King  of  Italy  a  cavalliero,  came  from  Berlin. 
The  genial  Sievers,  who  wrote  a  valuable  treatise  on  piano  con- 
struction and  established  a  factory  at  Naples  about  1865,  came 
from  St.  Petersburg,  and  Carl  Fischer,  preceding  Sievers  at  Na- 
ples, came  from  Vienna.* 


*  Fischer's  sons  came  to  New  York  about  1840,  foundiiiK  the  firm  of  J.  &  C.  Fischer. 


MEN  WHO  MAKE  PIANO  HISTORY  217 

Germany 

Gottfried  Silbermann,  born  near  Frauenstein,  Saxony,  January 
14,  1683,  served  his  apprenticeship  as  cabinetmaker  and  then 
studied  organ  building-,  following  the  example  of  his  talented  elder 
brother  Andreas.  We  find  Gottfried,  about  1712,  at  Freiberg, 
Saxony,  erecting  fine  church  organs.  His  Bohemian  escapades 
compelled  him  to  leave  the  staid  old  Saxon  city  rather  hastily, 
to  seek  shelter  and  work  at  his  brother  Andreas'  atelier  at  Stras- 
burg.  His  weakness  for  the  gentler  sex  involved  him,  however, 
here  also  in  serious  affairs,  culminating  in  the  futile  effort  to 
escape  with  a  nun  from  the  convent,  and  he  had  to  tramp  back 
to  far-away  Freiberg  after  a  stay  of  several  years  at  Strasburg. 
A  fine  mechanic,  as  illustrated  by  the  many  great  church  organs 
of  his  creation,  his  commercial  talents  were  no  doubt  even  stronger. 
Although  a  man  of  the  world,  a  great  entertainer  and  liberal 
spender,  he  accumulated  a  respectable  fortune.  In  his  art  he  was 
quick  to  adopt  the  inventions  of  others  and  thoroughly  understood 
the  value  of  clever  advertising.  Both  Gottfried  and  his  nephews 
at  Strasburg,  who  succeeded  their  father  in  business,  were  the 
first  in  the  piano  industry  who  effectually  resorted  to  reclame  to 
let  the  world  know  what  they  were  doing,  and  managed  to  get 
their  name  into  print  much  oftener  than  any  of  their  contempo- 
raries, which  has  led  many  a  historian  to  the  error  of  calling  Gott- 
fried the  inventor  of  the  piano,  or  the  hammer  action. 

Gottfried  Silbermann  died  in  175G,  having  erected  30  large 
church  organs  and  made  quite  a  number  of  pianos.  His  nephew, 
Johann  Daniel  Silbermann,  continued  the  business,  devoting  him- 
self to  the  making  of  grand  pianos  exclusively.  He  died  on  May 
6,  1766,  at  Leipsic,  having  no  successor.  The  Strasburg  branch 
of  the  Silbermann  family  continued,  however,  to  make  pianos  until 
the  death  of  Johann  Friedrich  Silbermann  on  March  8,  1817. 


218  PIAXOS  AND  THEIR  MAKERS 

Johann  Andreas  Stein  had  a  creative  mind.  An  organ  builder 
by  profession,  lie  learned  piano  making  in  Gottfried  Silbermann's 
shop.  About  1754  he  established  himself  at  Augsburg,  making 
pianos,  and  while  there  he  built  the  great  organ  in  the  Church  of 
St.  Francis.  In  1758,  seeking  a  larger  field,  he  went  to  Paris,  tak- 
ing some  of  his  pianos  along,  but  the  gay  metropolis  was  appar- 
ently not  ready  for  pianos.  Disappointed  and  almost  penniless 
Stein  returned  to  Augsburg,  where  he  again  began  to  build  pianos. 
He  invented  the  "  hopper  action  "  and  many  other  improvements. 

Mozart,  in  a  letter  to  his  mother,  pronounced  Stein's  pianos 
superior  to  any  others  that  he  had  plaj'ed  upon.  Stein's  pianos 
were  copied  everywhere,  especially  by  the  Vienna  makers,  so  that 
Stein  may  rightfully  be  called  the  father  of  the  Vienna  school. 
He  built  about  700  pianos  and  several  church  organs.  He  was  born 
at  Hildesheim  in  1728,  and  died  at  Augsburg,  February  29,  1792, 
in  his  64th  year. 

His  talented  daughter,  Xannette,  had  learned  the  art  of  piano 
making  under  her  father's  tutelage,  besides  being  an  accomplished 
pianist.  She  played  in  concerts  and  had  also  played  for  Mozart 
and  Beethoven.  Soon  after  her  father's  death  she  moved  to 
Vienna,  where  she  continued  the  business  with  her  brothers, 
Andreas  and  Friedrich.  In  1794  she  married  Johann  Andreas 
Streicher,  and  although  her  husband  soon  took  an  active  part,  the 
piano  business  was  carried  on  under  the  name  of  Nannette 
Streicher,  geb.  Stein,  until  1822,  when  her  son  Johann  Baptist 
Streicher  was  admitted  to  partnership  and  the  firm  name  was 
changed  to  Nannette  Streicher  &  Sohn. 

Johann  Andreas  Streicher,  born  at  Stuttgart,  on  December 
13,  1761,  attended  the  renowned  Karl  Schule  at  Mannheim,  to- 
gether with  Friedrich  Schiller,  whose  friendship  he  retained 
ever  after.  Leaving  the  school  Streicher  devoted  himself 
entirely  to  the  study  of  music,  especially  the  piano,  and  gained 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  219 

renown  as  a  virtuoso,  composer  and  teacher.  It  was  but  natural 
that  Beethoven,  while  living  at  Vienna,  should  become  a  warm 
friend  of  such  congenial  people,  who  always  kept  open  house, 
and  assembled  the  celebrities  of  the  day,  such  as  Hummel,  Cramer. 
Moscheles,  Henselt  and  KuUak,  around  their  table.  This  friend- 
ship never  lessened  to  the  last  days  of  the  great  composer.  In- 
deed Nannette  exercised  a  motherly  care  over  that  "  great  child," 
Beethoven,  superintending  his  much  neglected  household  and  look- 
ing after  his  daily  wants.  In  1816  Nannette  built  for  Beethoven's 
special  use  and  by  his  request,  a  grand  piano  witli  a  compass  of 
6y2  octaves,  which  was  considered  quite  an  accomplishment  in  those 
days.  Nearly  all  of  Beethoven's  compositions  were  created  on 
pianos  built  by  Nannette  Streicher.  She  closed  her  eventful  career 
by  passing  away  at  Vienna,  in  January,  1833,  her  husband  follow- 
ing her  in  May  of  the  same  year.  Their  son,  Joliann  Baptist 
Streicher,  born  at  Vienna  in  1796,  continued  the  business  with 
great  success,  and  added  valuable  improvements,  so  that  the 
Streicher  pianos  achieved  world-wide  reputation.  He  changed 
the  firm  name  to  J.  B.  Streicher  &  Sohn  in  1857,  when  his  son 
Emil  was  admitted  to  partnership.  The  latter  retired  from  busi- 
ness soon  after  his  father's  death  in  1871,  without  a  successor. 

Among  the  many  illustrious  names  which  gave  Vienna  its  pres- 
tige as  the  home  of  the  grand  piano,  that  of  Ignatz  Bosendorfer 
stands  foremost.  Born  at  Vienna  in  1795,  a  i)ui)il  of  Brodmann, 
he  established  his  business  at  Vienna  in  1828.  After  30  years  of 
active  life,  during  which  time  he  added  many  valuable  improve- 
ments to  the  development  of  the  piano,  he  retired  and  his  talented 
son  Ludwig  took  the  reins. 

Having  had  the  benefit  of  a  most  thorough  education  and 
extended  travels,  young  Bosendorfer  soon  became  a  factor  in  the 
piano  world,  andmade  his  pianos  known  far  beyond  the  boundaries 
of  his  home.     He  improved  on  the  piano  made  by  his  father,  ac- 


220 


PIANOS  AND  THEIR  MAKERS 


cepting  modern  ideas  as  far 
as  his  inborn  admiration  for 
the  "  Vienna  tone  "  would 
permit,  and  j^roduced  pianos 
which  to  this  date  hold  their 
own  successfully  in  competi- 
tion with  other  celebrated 
makes. 

Appreciating  the  valu- 
able assistance  of  the  virtu- 
osos, Bosendorfer  erected  a 
concert  hall  in  1872,  Hans 
von  Billow  gave  a  recital  at 
the  opening.  Bosendorfer 's 
grand  pianos  are  to  this  day 
the  favorite  instruments  of 
many  of  the  leading  virtuo- 
osos,  and  his  factory  ranks 
foremost  in  the  production  of  artistic  pianos.  In  recognition 
of  his  services  to  the  industry,  the  Emperor  of  Austria  ai> 
pointed  Bosendorfer  purveyor  to  the  court,  conveyed  the  title 
of  Imperial  Commercial  Counselor,  and  bestowed  the  decora- 
tion of  the  "  Golden  Cross  of  Merit  with  the  Crown,"  upon  him. 

Friedrich  Ehrbar,  born  on  April  26,  1827,  in  Hanover,  was  an- 
other of  those  remarkable  men  who  carved  their  fortunes  out  of  the 
rock  of  privation  and  adversity.  When  two  years  of  age  a 
cholera  epidemic  took  from  him,  within  one  week,  his  father, 
mother  and  sister.  His  childhood  was  spent  in  a  home  for  orphans. 
Showing  a  decided  talent  for  music  as  well  as  mechanical  ability, 
when  still  a  schoolboy,  by  making  guitars  for  himself  and  com- 
rades,   the    organ    builder,    Frederici    of    Hanover,     consented 


Ludwig  Bosendorfer 


MEX  WHO  HAVE  MADE  PIANO  HISTORY 


221 


to  take  liiiii  as  an  ap- 
prentice. He  liad  to  serve 
fully  seven  years.  Al- 
though after  that  his  mas- 
ter was  anxious  to  retain 
his  services  at  good  wages, 
Ehrbar  was  intent  on  go- 
ing to  Vienna,  the  high 
school  of  piano  making. 
In  1848  he  started  on 
his  journey.  He  went 
from  Hanover  along  the 
Ehine  to  Frankfort,  Nu- 
remberg and  via  Eegens- 
burg  to  Vienna.  At  Han- 
over he  met  Henry  Stein- 
weg,  who  had  also  start- 
ed out  on  his  "  Wander- 

schaft,"  and  the  two  young  piano  makers  formed  a  lasting  intimate 
friendship.  Reaching  Vienna,  Ehrbar  was  so  captivated  with  the 
beautiful  '*  Kaiserstadt,"  that  he  immediately  resolved  to  make  his 
home  there.  He  was  fortunate  in  finding  emplo^Tuent  with  that 
celebrated  master,  Seuffert.  Although  the  original  understanding 
was  that  he  should  serve  for  three  years  as  a  student  at  a  nominal 
wage,  he  proved  himself  such  an  adept  that  his  master  relieved  him 
from  this  obligation  after  the  first  nine  months.  His  further  prog- 
ress was  so  rapid  that  Seuffert  intrusted  him  in  1854  with  the  pro- 
duction of  six  pianos  for  the  Munich  exposition  of  1855.  Ehrbar 
had  the  satisfaction  not  only  of  receiving  a  prize  medal,  but  further- 
more of  seeing  all  six  pianos  sold  at  the  exhibition. 

Seuffert  died  in  1855  and  Ehrbar  managed  the  business  until 
1857,  when  he  acquired  ownership.    At  the  World's  Fairs  of  Lon- 


Friedrich  Ehrbar 


222 


PIANOS  AND  THEIR  MAKERS 


Johannes  Adolf  Ibach 


don  in  1862  and  Paris  in 
1867,  Ehrbar's  pianos  were 
awarded  first  prizes.  The 
Emperor  of  Austria  honored 
him  with  decorations  and  the 
title  of  purveyor  to  tlie  court, 
and  at  the  Vienna  Exposition 
of  1873  he  served  as  juror 
for  the  musical  instrument 
exhibits. 

Progressive  by  nature, 
Ehrbar  was  among  the  first 
of  the  Vienna  makers  who 
adopted  the  full  iron  frame 
for  all  of  his  pianos.  In 
1877  he  erected  the  Saal 
Ehrbar,  a  notable  addition 
to  the  concert  halls  of  Vienna.  He  retired  from  active  business  on 
January  1,  1898,  and  died  at  his  country  home  near  Vienna  on 
February  25,  1905,  in  his  seventy-eighth  year.  The  business 
is  continued  under  the  able  direction  of  his  son,  Friedrich 
Ehrbar. 

I.  M.  Schweighofer's  Sohne  is  Vienna's  oldest  firm. 
J.  Fritz  &  Sohn,  established  in  1801,  Karl  Dorr  in  1817,  Otto 
Heitzmann  and  Josef  Schneider's  Neffe  in  1839,  are  all  builders  of 
good  pianos,  sustaining  the  time-honored  reputation  of  the  Vienna 
piano  industry. 

Following  the  good  old  German  custom  to  go  "  wandern," 
that  is,  to  travel  for  a  number  of  years  on  foot  from  country  to 
country,  stopping  for  a  while  at  a  city  wherever  an  acknowledged 
*'  master  of  the  craft  "  had  his  domicile,  to  learn  and  to  earn, 
young  Johannes  Adolf  Ibach  left  the  monastery  of  Beyenburg, 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  223 


just  as  soon  as  his  education 
was  completod.  He  studied 
ori>"an  and  piano  making 
with  several  of  the  best  mas- 
ters of  Germany,  and  re- 
turned to  his  home  a  master 
of  the  art.  He  was  in- 
trusted with  the  remodeling 
of  the  great  organ  at  Beyen- 
burg  and  did  such  excellent 
work  that  his  standing  as  a 
master  was  at  once  estab- 
lished. Like  most  organ 
builders  of  those  days,  he 
longed,  however,  to  build 
pianos,  that  instrument 
which     had     taken     such     a 

a  strong  hold  and  promised  a  much  greater  field  for  invention 
and  business  expansion  than  the  church  organ.  We  find  him, 
therefore,  soon  giving  his  entire  attention  to  pianos.  He  knew 
how  to  build  them,  and  in  spite  of  the  great  depression  in  business, 
caused  by  the  Napoleonic  wars,  Ibach's  business  grew  steadily, 
unfortunately,  however,  undermining  the  health  of  the  indefati- 
gable worker,  so  that  at  the  age  of  59,  he  had  to  give  his  business 
into  the  hands  of  his  eldest  son,  Carl  Rudolf  Ibach,  who  was  then 
only  21  years  of  age.  The  young  man  filled  his  place  well,  and  from 
1825  dates  the  rise  of  the  house  of  Ibach.  To  find  a  greater 
market  for  his  product  and  to  enrich  his  knowledge  of  the  world  and 
business,  young  Ibach  took  to  travel  whenever  he  could.  He  visited 
France  and  Spain,  and  never  lost  an  opportunity  to  attend  the 
then  just  inaugurated  expositions  and  fairs,  oftentimes  putting 


Carl    Uiululf  Ibach 


224 


PIANOS  AND  THEIR  MAKERS 


his  pianos  in  competition 
with  others  and  always  re- 
warded with  the  customary- 
honors. 

Like  his  father,  he  sacri- 
ficed his  health  for  his  am- 
bition, and  died  at  Barmen, 
April  25,  1863,  leaving  the 
care  of  his  business  upon 
the  shoulders  of  his  son, 
Rudolf  Ibach,  who  changed 
the  firm  name  to  Rudolf 
Ibach  Sohn.  Although  only 
20  years  of  age  when  his 
father  died,  young  Rudolf 
inaugurated  a  most  aggres- 
sive campaign,  just  as  soon 
as  he  had  found  his  bearings.  He  was  an  exceptionally  strong 
character,  a  genius  in  many  ways,  artistic  in  his  inclinations 
and  desires.  He  soon  developed  a  commercial  keenness  and 
foresight,  which,  coupled  with  the  daring  born  of  faith  in  his 
own  strength  and  ability,  brought  astounding  results,  and  in 
a  few  years  under  Rudolf's  leadership  the  factory  had  to  be  en- 
larged to  meet  the  growing  demand  for  Ibach  pianos.  In  his 
extended  travels  he  came  in  contact  with  the  leading  musicians 
and  composers  of  his  day.  Himself  a  very  magnetic  and  interest- 
ing man,  he  drew  others  to  him.  Richard  Wagner  honored  him 
by  dedicating  a  life-size  photograph  with  the  inscription  * '  Seinem 
freundlichen  Tongehilfen  Rudolf  Ibach  dankbarlichs  Richard  Wag- 
ner, 1882."  What  a  strong  indorsement  of  the  piano  maker,  Rudolf 
Ibach! 


Rudolf  Ibach 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


225 


Liszt,  Sauer,  and  many 
other  virtuosos  have  played 
the  Ibaeh  grands.  Rudolf 
Ibaeh  was  not  satisfied  to 
serve  art  only  as  "  Ton 
Gehilfe."  With  his  resist- 
less energy  he  started  a 
campaign  to  give  his  pianos 
an  artistic  exterior  and 
called  on  the  masters  of 
decorative  art  for  assist- 
ance. In  1883,  and  again  in 
1891,  he  invited  competitive 
designs  for  artistic  piano 
cases,  awarding  adequate 
cash  prizes  to  the  winners, 
so  that  the  leading  archi- 
tects  of   Germany  found   it 

worth  their  while  to  participate.  It  was  not  only  the  benefit  of 
obtaining  exquisite  designs  for  the  Ibaeh  pianos  which  resulted 
from  this  enterprising  movement;  it  reached  farther  and  impelled 
other  piano  makers  to  follow  Ibaeh 's  example. 

Foresightedness  was  one  of  Ibaeh 's  characteristics.  While  he 
was  occupied  in  expanding  his  business  in  all  directions,  he  sent 
his  younger  brother,  Walter  Ibaeh,  into  the  world  to  study  the 
methods  of  other  piano  makers.  Walter  went  to  Brussels,  then 
spent  considerable  time  at  Gaveau's  atelier  in  Paris  and  prepared 
himself  at  London  for  his  American  visit,  where  he  was  for  several 
years  active  in  George  Steck's  factory.  He  also  studied  felt  and 
liammer  making  in  the  author's  factories  at  Dolgeville.  N.  Y. 
After  an  absence  of  nearly  10  years,  Walter  Ibaeh  returned  to 
Barmen  in  1883,  a  master  of  his  art,  to  assist  his  brother  Rudolf, 


J.  G.  Inuler 


226 


PIANOS  AXl)  THEIR  MAKERS 


whose  duties  and  cares  had 
grown  ahnost  beyond  one 
man's  endurance.  Like  his 
father  and  grandfather,  Ru- 
dolf Ibach  had  gone  beyond 
his  strength,  and  passed 
away  at  the  early  age  of  49 
years,  on  July  31,  1892. 
The  great  business  which  he 
Iniilt  lip  is  carried  on  by  his 
sons,  under  the  guidance  of 
their  uncle,  Walter  Ibach. 

In  1795  Andreas  Georg 
Ritmiiller  began  making- 
pianos  at  the  old  university 
town  of  Gottingen.  It  is  not 
known  where  he  learned  his 
trade,  but  his  pianos  were 
well  built  and  the  business  founded  by  him  has  continued  with 
marked  success  to  the  present  day. 

Ernst  Philip  Rosenkrantz,  born  July  10,  1773,  served  his  ap- 
prenticeship with  Heinrich  Ludolf  Mack  of  Dresden,  and  started 
on  his  own  account  in  1797.  His  son  Friedrich  Wilhelm  succeeded 
him  after  his  death  in  1828.  He  gained  a  worldwide  reputation 
for  his  instruments,  doing  especially  a  large  export  business  to 
North  America.  The  firm  has  maintained  its  reputation  for  high 
grade  instruments  and  enjoys  an  enviable  position  among  the 
Dresden  makers  of  to-day. 

Born  at  Obergrumbach  near  Dresden,  Johann  Christian  Gott- 
lieb Irmler  studied  piano  making  with  the  masters  at  Vienna  and 
came  to  Leipsic  in  1818,  where  he  founded  the  house  of  J.  G. 
Irmler.     He  built  very  good  grand,  square  and  upright  i^ianos, 


Oswald  Irmler 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


227 


and  some  of  his  earliest  pro- 
ductions can  be  found  at  the 
Germanic  Museum  in  Nu- 
remberg. Enterprising  to 
an  unusual  degree,  Irmler 
saw  his  small  shop  grow  into 
a  large  industrial  establish- 
ment, and  his  pianos  sold  in 
all  parts  of  the  globe.  He 
died  December  10,  1857,  His 
sons.  Otto  and  Oswald  Irm- 
ler, had  gone  through  the 
school  of  piano  making  in 
the  leading  shops  of  Vienna, 
Paris  and  London,  and  as- 
sumed the  management  after 
their  father's  death.  The 
young  men  introduced  steam- 
driven  machinery  in  their  works  in  1861,  probably  as  the  first  in  the 
piano  industry  of  Germany.  Otto  Irmler  died  October  30,  1861, 
at  the  age  of  41,  and  the  management  fell  to  the  younger  brother, 
Oswald,  then  only  26  years  of  age. 

For  44  years  Oswald  Irmler  directed  the  destiny  of  the  time- 
honored  firm  with  marked  ability  and  success,  taking  his  sons, 
Emil  and  Otto,  in  partnership  in  1903.  He  died  October  30,  1905, 
leaving  an  establishment  to  his  sons,  which  ranks  among  the  best 
in  Germany. 

The  firm  of  J.  G.  Irmler  has  been  honored  by  the  appointment 
as  purveyors  to  the  courts  of  the  Emperor  of  Austria,  the  Kings 
of  Wurtemburg,  Sweden,  Eoumania,  and  other  potentates,  and  re- 
ceived distinguished  awards  for  its  products  wherever  exhibited. 


Johann  David  Schiedmaver 


228 


PIANOS  AND  THEIR  MAKERS 


Leading  virtuosos  such  as 
Billow,  Friedlieim,  Henselt, 
Felix  Mendelssohn,  Sofie 
Menter,  Carl  Reinecke  and 
others,  have  used  the  Irmler 
grand  pianos  in  their  con- 
certs. 

It  is  not  known  of  whom 
Balthasar  Schiedmayer,  born 
in  1711,  learned  his  art,  but 
he  built  his  first  grand  piano 
at  Erlangen  in  1735.   He  died 
in  1781  and  was   succeeded 
by   his    son,    Johann   David 
Schiedmayer,  who  was  hon- 
ored by  the  appointment  of 
piano  maker  to  the  Elector  of 
Brandenburg.     He  removed 
to  Nuremberg,  continuing  there  with  great  success  until  his  death 
in  1806.     His  son,  Johann  Lorenz  Schiedmayer,  sought  a  larger 
field  for  his  activities  and  we  find  him  in  1809  located  at  Stutt- 
gart, laying  the  foundation  for  one  of  the  most  renowned  firms 
of  Germany.    In  1845  he  admitted  his  sons,  Adolf  and  Hermann, 
to  partnership,  changing  the  firm  name  to  Schiedmayer  &  Sohne. 
Always  progressive,  this  firm  produced  upright  pianos  as  early 
as  1842.    At  the  World's  Fair  in  London  in  1851,  their  product 
carried  off  the  gold  medal,  and  in  1881  Adolf  Schiedmayer  re- 
ceived the  title  of  "  Counselor  of  Commerce  "  from  the  King  of 
Wurtemburg.     Adolf  Schiedmayer  died  in  1890,  and  his  brother 
Hermann  in  1891.    Adolf,  Jr.,  born  in  1847,  is  the  present  head  of 
the  house,  maintaining  the  honored  traditions  with  great  success. 


Johann  Lorenz  Schiedmayer 


MEN  WHO  HAVE  MADE  PIANO  HISTORY         229 


He  wears  the  title  of 
"  Privy  Counselor  of  Com- 
merce "  and  is  also  presi- 
dent of  the  Piano  Manufac- 
turers' Association  of  Ger- 
many. The  firm  is,  by  ap- 
pointment, purveyor  to  the 
courts  of  Wurtemburg  and 
Poumania. 

The  young-er  sons  of 
Johann  Lorenz  Schiedmaj-er, 
Julius  and  Paul  Schied- 
mayer,  devoted  themselves 
exclusively  to  the  building 
of  harmoniums.  They  spent 
several  years  at  London  and 
more  especially  at  Paris  with 
Debain  and  Alexander,  and 

established  themselves  in  Stuttgart  in  1853  under  the  firm  name  of 
J.  &  P.  Schiedmayer.  They  produced  most  excellent  instruments, 
improving  upon  the  products  of  the  French  masters,  but  since  the 
upright  piano  began  to  crowd  the  harmoniums  from  the  markets,  J. 
&  P.  Schiedmayer  were  forced  to  begin  the  manufacture  of  pianos  in 
1860,  and  finally  changed  their  name  to  the  "  Schiedmayer  Piano- 
fabrik."  They  soon  achieved  great  prominence,  being  among  the 
first  makers  of  Germany  to  adopt  the  overstrung  system  and  full 
iron  frame.  In  course  of  time  the  firm  was  appointed  purveyor 
to  the  courts  of  the  Emperors  of  Germany,  Russia  and  Austria, 
the  Queen  of  England  and  the  Kings  of  Wurtemburg,  Bavaria, 
Italy,  Spain,  Roumania,  etc.  Distinguished  by  the  award  of  45 
diplomas   of  honor  and  i)rize  medals,   at   the   fairs   where  their 


Adolf  SfhiiMliuaviT 


230 


PIANOS  AND  THEIR  MAKERS 


Hermann   Schiedniaver 


pianos  were  exhibited,  the 
firm  was  awarded  the  grand 
prize  at  the  World's  Fairs 
of  Paris  in  1900  and  St. 
Louis  in  1904. 

Julius  Schiedmayer  was 
appointed  Counselor  of 
Commerce  by  the  King  of 
"Wurtemburg,  and  chosen  as 
juror  of  the  piano  exhibits 
at  the  World's  Fairs  of 
London,  1862;  Stettin,  1864; 
Paris,  1867;  Vienna,  1873; 
and  Philadelphia,  1876.  He 
also  received  decorations 
-  from  the  Emperor  of  Aus- 
tria and  the  Kings  of  Wur- 
temburg and  Italy,  in  recog- 
He  died  at  Stuttgart,  January, 


nition  of  his  valuable  services 

1878,  his  brother  Paul  following  him  in  1891. 

Under  the  energetic  guidance  of  Paul's  son.  Max  Schied- 
mayer, the  renowned  tirm  is  constantly  adding  to  its  pres- 
tige and  honor.  Like  his  illustrious  uncle  and  father,  Max 
Schiedmayer  has  served  as  juror  at  exhibitions,  notably  at 
the  great  World's  Fair  of  Chicago  in  1893,  and  at  Brussels  in 
1910. 

In  1819  Kaim  &  Giinther  began  to  make  pianos  at  Kirchheim 
near  Stuttgart,  building  up  a  large  business.  The  firm  was  even- 
tually dissolved,  the  grandson  of  Kaim  doing  business  under  the 
firm  name  of  ''  Kaim  &  Sohn."  Giinther 's  sons  adopted  the 
firm  name  of  "  Giinther  &  Sohne."  The  latter  have  the  appoint- 
ment as  the  purveyors  to  the  court  of  Wurtemburg. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


231 


Among  the  noteworthy 
firms  of  Stuttgart  must  be 
mentioned  F.  Dorner  & 
Sohn,  established  in  1830, 
Eichard  Lipp  &  Sohn,  in 
1831  and  Hermann  Wag- 
ner in  1844.  The  firm  of 
A.  J.  Pfoiifer  was  founded 
in  1862.  The  present  head 
of  the  house,  Carl  J.  Pfeif- 
fer,  has  devoted  much  atten- 
tion to  the  construction  of 
pedal  pianos  for  pedal  prac- 
tice of  organ  players.  He 
has  also  been  very  indus- 
trious in  collecting  models 
of  piano  actions  for  tlie 
Eoyal  Museum  at  Stutt- 
gart, and  has  assembled  there  the  most  complete  collection  of  piano 
actions  in  existence.  In  recognition  of  his  services  Pfeiffer  has 
been  appointed  purveyor  to  the  court  of  Wurtemburg,  and  also 
Eoyal  Counselor  of  Commerce. 

Germany  can  boast  of  a  long  list  of  old  established  houses  in 
all  parts  of  its  domain.  The  house  of  Gebriider  Eohlfiug  of  Osna- 
briick  dates  back  to  1790.  H.  Pfister  started  at  Wiirzburg  in  1800 ; 
Gebriider  Knake  of  Miinster  in  1808.  Tn  the  year  1828  Gerhard 
Adam  of  Wesel,  G.  L.  Xagel  of  Heilbronn,  Ritter  of  Halle,  G. 
Heyl  of  Borna,  and  I.  G.  Vogel  &  Sohn  of  Plauen,  commenced 
business.  I.  P.  Lindner  of  Stralsund  made  his  first  piano  in 
1825,  and  Meyer  &  Company  of  Munich  in  1826.  In  1832  Carl 
Mand  began  his  career  at  Coblenz,  and  in  1834  C.  J.  Gebauhr 
had  the  courage  to  establish  himself  at  Konigsberg,  on  the  far 


Julius  Schiedmayer 


232 


PIANOS  AND  THEIR  MAKERS 


eastern  border  of  Ger- 
many. In  the  same 
year  Ferdinand  Tliiirmer 
opened  liis  shop  in  Meis- 
sen, to  be  followed  a  year 
later  by  Heinrich  Engel- 
hardt  Steinweg  at  Seesen. 
His  son  Theodor  Steinweg 
removed  his  business  to 
Brunswick,  after  the  elder 
Steinweg  left  with  his 
family  for  America  in 
1850. 

Joining  in  1865  the 
meantime  established  firm 
of  Steinway  &  Sons  in 
New  York,  Theodor  Stein- 
weg sold  his  business  to 
three  of  his  workingmen,  Grotrian,  Helfferich  and  Schulz,  who 
adopted  the  firm  name  of  Theodor  Steinweg  Nachfolger.  This  firm 
ranks  to-day  among  the  foremost  of  Germany  under  the  able  man- 
agement of  AVilhelm  Grotrian  and  his  sons. 

Traugott  Berndt  started  in  Breslau  in  1836,  and  the  highly 
respected  firm,  Zeitter  &  Winkelmann  of  Brunswick  in  1837. 

In  Hamburg,  Gustav  Adolph  Buschmann  commenced  making  pi- 
anos as  early  as  1805.  Mathias  Ferdinand  Rachals  followed  in  1832. 
Rachals,  born  at  Mitau,  June  3,  1801,  had  studied  with  Brix  of 
St.  Petersburg  and  Sachsossky  of  Cassel.  His  pianos  were  of  the 
highest  order,  and  he  was  especially  successful  in  constructing  a 
detachable  piano  for  tropical  countries.  Rachals  died  September 
6,  1866,  and  was  succeeded  by  his  son,  Eduard  Ferdinand,  who 
continued  to  spread  the  fame  of  the  firm.    Born  at  Hamburg,  May 


Paul  Schiedmaver 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


233 


Mathias  Ferdinand  Rachals 


4,  1837,  he  learned  piano 
making  in  his  father's  shop, 
and  afterward  studied  in  the 
leading  factories  of  Paris, 
London  and  Ziirich.  Eachals 
possessed  a  most  artistic 
temperament,  jjlayed  the 
l^iano  to  perfection  and  en- 
joyed practicing  on  brass  in- 
struments, playing  classic 
quartets  with  friends  for  his 
own  amusement.  The  busi- 
ness prospered  under  his 
able  management  until  death 
ended  his  usefulness.  He 
passed  away  April  24,  1902. 
His    son    Adolf    Ferdinand 

went  to  the  United  States  in  1892,  where  he  worked  in  several 
of  the  i)rominent  piano  factories,  including  a  long  stay  at 
Dolgeville,  X.  Y.,  for  the  study  of  hammer  making.  At  the  World's 
Fair  of  Chicago  in  1893,  M.  F.  Kachals  &  Company  received  a 
special  diploma  for  their  excellent  instruments.  Adolf  Ferdinand 
Eachals  succeeded  his  father  in  1902. 

Carl  Scheel  of  Cassel  worked  for  Erard  from  1837  to  1846, 
during  the  later  years  as  superintendent.  He  had  learned  so 
much  in  Paris  that  his  business,  founded  in  184G,  was  a  success 
from  the  start.  An  acknowledged  master  of  his  art,  he  attracted 
many  young  men,  desirous  of  studying  under  him,  among  whom 
Georg  Steck  later  made  a  name  for  himself  in  Xew  York. 

A  most  remarkable  success,  achieved  in  a  comparatively  short 
time,  assures  Julius  Bliithner  a  prominent  place  in  history.  Born 
March  11,  1824,  at  Falkenhain,  he  learned  his  trade  with  Holling 


23-4 


PIANOS  AND  THEIR  MAKEES 


&  Spangenberg  of  Zeitz,  and 
studied  under  Alexander 
Bretsclmeider,  the  renowned 
builder  of  grand  pianos,  at 
Leipsic,  until  1853,  when  he 
started  in  business  on  his 
own  account.  Handicapped 
by  lack  of  a  broader  educa- 
tion, Bliithner  had  to  dig  his 
way  to  prominence.  He 
was  fortunate  in  the  pos- 
session of  a  highly  de- 
*  5  veloped  sense  of  hearing, 
and  it  is  said  that  in  later 
years  no  one  in  his  exten- 
'  sive  establishment  could 
"  voice  "  a  piano  so  accu- 
rately as  he. 
Ambitious  to  contribute  something  more  to  his  art  than  mere 
industrial  activity,  Bliithner  made  many  experiments  to  improve 
the  piano.  In  order  to  enhance  the  volume  and  singing  quality 
of  tone  in  the  upper  octaves,  he  revived  Hans  Euckers'  fourth 
string  system,  calling  his  device  the  "  Aliquot  System."  He  also 
invented  a  grand  action.  Calling  to  his  aid  able  young  men  of 
literary  ability,  Bliithner  used  printer's  ink  to  great  advantage 
and  his  fine  instruments  soon  found  a  market  in  all  quarters  of 
the  globe,  so  that  his  production  in  1882  had  risen  to  an  annual 
output  of  1200  grand  and  1800  upright  pianos.  Bliithner  pub- 
lished, in  conjunction  with  Gretschel,  a  treatise  on  piano  making, 
of  which  several  editions  have  been  sold.  The  King  of  Saxony 
honored  him  with  the  appointment  of  Privy  Counselor  of  Com- 
merce, and  he  also  received  decorations  from  his  King,  the  Duke 


Edward  Ferdinand  Rachals 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


235 


of  Saxe-Coburg  aud  the 
Grand  Duke  of  Mecklen- 
burg-Sch  we  rin.  He  died 
at  Leipsic  in  1910  in  his 
eighty-seventh  year. 

None  of  the  modern 
makers  of  Germany  has 
done  as  much  to  procure 
for  the  German  piano  tlie 
prominence  which  it  en- 
joys at  the  present  time 
as  Carl  Bechstein.  Born 
at  Gotha  on  June  1,  1826, 
Bechstein  was  imbued 
with  all  the  poetic  and 
musical  instinct  so  typical 
of  the  Thuriugians.  It 
was  natural  that  he  should 

choose  piano  making  for  a  profession,  and  so  proficient  had  he 
become  that  at  the  age  of  22  he  was  given  the  responsible  position 
of  managing  the  business  of  G.  Perau,  one  of  Berlin's  best  known 
makers  of  that  time.  After  four  years'  faithful  service  wanderlust 
got  the  better  of  Bechstein,  and  we  next  find  him  at  London,  later 
at  Paris,  studying  under  that  genial  empiric,  Pape,  and  getting  an 
insight  into  modern  business  methods  with  Kriegelstein. 

Equipped  with  new  experiences  in  piano  making,  a  thorough 
knowledge  of  Parisian  commercial  tactics,  enriched  with  broader 
views,  world-wise,  Bechstein  returned  to  Berlin  and  built  his  first 
grand  piano  in  1856.  A  man  of  the  world,  amiable,  even  magnetic 
to  a  certain  degree,  he  easily  attracted  artists  and  litterateurs  to 
himself,  gaining  thereby  a  publicity  which  redounded  largely  to 
the  ever-increasing  prosperity  of  his  business.     Carl  Bechstein 


236 


PIANOS  AND  THEIR  MAKERS 


received  numerous  decora- 
tions, both  from  his  King 
and  Emperor,  as  well  as 
other  rulers,  and  was  ap- 
pointed jDurveyor  to  the 
courts  of  nearly  all  the  reign- 
ing emperors  and  kings  of 
Europe.  He  died  at  Berlin 
in  1908  at  the  age  of  82. 

Among  the  many  firms 
that,  during  the  past  50 
years,  have  been  more  or  less 
active  in  expanding  the  piano 
industry  of  Germany,  C. 
"VVeidig  of  Jena,  founded  in 
1843;  Carl  Ronisch  of  Dres- 
den, founded  in  18-1:5;  and 
Julius  Feurich  of  Leipsic, 
established  in  1851,  deserves  special  mention. 

Carl  Ronisch,  born  at  Goldberg,  Silesia,  in  1814,  experienced 
all  the  privations  of  poverty  in  his  youth,  but  his  inborn  talent  and 
determination  finally  got  the  better  of  adverse  conditions.  With- 
out capital,  but  having  unlimited  faith  in  his  ability,  he  began  to 
make  j^ianos  at  Dresden  and  in  time  had  the  satisfaction  of 
shipping  the  product  of  his  factory  to  all  parts  of  the  globe.  In- 
deed, Ronisch  was  one  of  the  pioneers  in  exporting  German  pianos. 
His  grands  and  uprights  became  so  popular  in  Russia,  that  he 
found  himself  compelled  to  erect  a  factory  in  St.  Petersburg.  Re- 
warded with  highest  awards  at  all  expositions,  wherever  his  pianos 
have  been  exhibited,  Ronisch  was  also  personally  honored  with 
decorations  of  distinction,  and  appointed  purveyor  to  the  Court 
of  Saxony.    He  died  July  21,  1893,  at  the  age  of  80.     The  great 


Carl  Bechstein 


MEN  WHO  HAVE  MADE  PIANO  HISTOEY 


2.37 


business  is  successfully  car- 
ried on  by  his  sons,  who 
have  been  his  associates  for 
many  years. 

There  are  a  large  num- 
ber of  aggressive  young 
firms  in  Grermany,  making- 
history,  inspired  by  the 
glorious  records  of  the  older 
houses,  but  it  is  not  the 
province  of  this  work  to 
dwell  upon  present  and 
future. 

In  the  supply  industries 
Germany  has  produced  three 
self-made  men  who  assumed 
the  leadership  in  their  re- 
spective branches  from  the  day  they  entered  the  arena.  The  piano 
industry  is  indebted  to  L.  Isermann,  Moritz  Poehlmann  and  August 
Moritz  Weickert  for  furnishing  actions,  wires  and  felt  of  such 
quality  as  to  make  the  perfect  piano  of  the  present  day  a 
possibility. 

I.  C.  L.  Isermann,  born  on  July  1,  1813,  near  Hanover,  served 
his  apprenticeship  as  a  cabinetmaker,  and  shortly  thereafter 
traveled  on  foot  through  Germany,  Italy,  Switzerland  and  Bel- 
gium, working  at  his  trade  in  most  of  the  larger  cities.  About 
1835  he  landed  in  Paris,  the  mecca  of  all  young  German  artisans 
of  that  time.  He  found  emplojTnent  in  one  of  the  piano  action 
factories.  Just  as  soon  as  he  had  mastered  that  art  he  made  fur- 
ther studies  in  other  factories  to  become  familiar  with  the  various 
models  of  actions  then  in  use  and  the  different  methods  of  manu- 
facturing.    Thoroughlv  grounded,  he  returned  to  the  Fatherland 


Carl  KOniscli 


238 


PIANOS  AND  THEIR  MAKERS 


and  in  1842  started  the  first 
piano  action  factory  in  Ger- 
many at  Hamburg.  It  was  an 
innovation  and  seemed  a  bold 
undertaking,  because  up  to  that 
time  all  piano  makers  in  Ger- 
many made  tlieir  actions,  fol- 
lowing their  own  notions  re- 
garding construction.  Iser- 
mann  demonstrated  at  once, 
that  he  could  produce  a  better 
action  for  less  money  than  the 
piano  maker,  and  his  busi- 
ness prospered  far  beyond  his 
expectations.  His  success  was 
so  remarkable  that  it  invited 
competition.  Very  soon  all 
l^iano  makers  quit  producing  their  own  actions,  and  the  piano 
action  industry,  founded  by  Isermann,  spread  to  all  the  leading 
manufacturing  centers  of  Germany.  Because  of  the  reliability  and 
excellent  workmanship  of  his  goods,  the  honesty  and  integrity 
of  his  dealings,  Isermann  always  had  more  business  offered  to 
him  than  he  could  take  care  of,  although  his  establishment  had 
been  constantly  enlarged,  eventually  employing  about  550 
persons. 

In  1870  his  son,  C.  W.  Isermann,  assumed  manage- 
ment, and  in  1901  young  Ludolf  Isermann,  the  grandson, 
joined  the  firm.  I.  C.  L.  Isermann  died  on  November  5, 
1898,  in  his  eighty-fifth  year,  having  made  his  strong  mark 
as  a  captain  of  industry  in  a  field  created  by  himself.  C.  W. 
Isermann  died  on  December  29,  1900,  in  his  sixty-first 
vear. 


J.  C.  L.  Isermann 


MEN  WHO  HAVE  :\[ADE  PTAXO  HISTORY 


239 


-^^^  (f^ ^ot/o-r^J::^:'^  '^pQ^io^' 


Harassing  labor  condi- 
tions impelled  Ludolf  Iser- 
mann  to  leave  Hamburg  and 
join  the  firm  of  F.  Langer  & 
Company  of  Berlin,  perpetu- 
ating the  work  of  his  il- 
lustrious grandfather  and 
father,  under  most  favor- 
able and  promising  auspices. 
Although  established  only 
since  1882  the  firm  of  Langer 
&  Company  enjoys  a  most 
enviable  reputation  for  the 
high  quality  of  its  products 
and  controls  one  of  the 
largest  establishments  of  its 
kind. 

I.  D.  "Weickert,  born  Au- 
gust  23,  1751,  the  fourth  son 

of  a  family  of  14  children,  learned  the  profession  of  an  optician 
and  established  himself  at  Leipsic  in  1783.  Thrift  and  indus- 
try soon  brought  i^rosperity,  with  greater  promises  for  the  future. 
"When  the  Napoleonic  wars  devastated  Germany,  paralyzing  busi- 
ness for  many  years,  Weickert 's  hard-earned  savings  gradually 
disappeared  and  he  and  his  family  often  had  to  suifer  indescrib- 
able hardships.  These  sufferings,  worry  and  anxiety  finally 
caused  the  untimely  death  of  this  energetic  man  in  1816. 
He  left  his  family  almost  in  poverty,  but  the  era  of  peace  was 
dawning  in  Europe,  and  although  only  15  years  of  age, 
the  son,  August  IMoritz,  together  with  his  most  remarkable 
mother,  hung  on  to  what  little  there  was  left  of  his  father's 
business. 


240 


PIANOS  AND  THEIR  MAKERS 


After  the  optical  busi- 
ness was  re-established,  so  to 
speak,  the  young  man  added 
the  sale  of  hardware  and 
gradually  built  up  a  repu- 
tation for  his  firm.  When 
he  became  personally  ac- 
({uainted  with  the  renowned 
English  tool  maker,  Stubbs, 
during  the  latter 's  visit  to 
Leipsic,  he  imjDroved  his  op- 
portunity to  open  up  direct 
business  connection  with  this 
English  firm  and  thus  laid 
the  foundation  for  the  great 
hardware  business,  which 
under  his  personal  manage- 


extending     over     60 


C.  W.  Patzschke 

ment, 
years,  grew  to  magnificent  proportions. 

In  1847  F.  W.  Patzschke,  a  hatter  by  trade,  had  made  some 
experiments  in  producing  tapered  felt  for  piano  hammers.  Lack- 
ing capital,  he  appealed  to  the  merchant,  Weickert,  who  agreed 
to  make  the  necessary  advances.  For  several  years  the  results 
were  so  disappointing  that  Patzschke  became  discouraged  and 
forced  Weickert  to  assume  control  and  management.  Weickert  se- 
cured the  services  of  his  old  partner's  son,  C.  W.  Patzschke,  as 
manager  of  the  factory  and  pushed  the  business  energetically. 
With  keen  foresight  he  anticipated  the  great  future  in  store  for 
this  new  industry  and  re-invested  all  the  profit  for  years  in  new 
machinery  and  improved  buildings,  aiming  always  to  produce  the 
best  felts  that  could  be  made.  For  many  years  Weickert  enjoyed 
a  monopoly  for  his  product.    Other  factories  were  started  in  Ger- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


241 


many,  following  in  Weick- 
ert's  footsteps  as  much  as 
possible,  but  bis  business 
continued  to  grow,  in  spite 
of  competition,  and  enjoys 
to-day  a  position  as  undis- 
puted leader  in  the  industry. 

Carl  Moritz  Weickert 
died  on  May  22,  1878,  highly 
respected  by  all  who  knew 
him  as  a  man  of  indomi- 
table energy,  business  abil- 
ity, sagacity  and  one  whose 
noblesse  of  character,  hon- 
esty and  integrity  compelled 
admiration.  His  son,  Otto 
Weickert,  extended  the  felt 
manufacturing    business    to 

enormous  proportions,  establishing  distributing  depots  in  all  the 
larger  markets.  After  fifty  years  of  active  participation  in  the 
management,  he  turned  the  business  over  to  the  care  of  his  son 
jMax  and  his  nephew  Fritz  Weickert,  who  maintained  the  con- 
servative policy  of  the  house  with  due  regard  for  progressive 
advancement. 

The  technical  management  of  the  factories  has  remained  in  the 
hands  of  the  Patzschke  family.  Eudolf  Patzschke,  a  grandson  of 
F.  W.  Patzschke,  has  succeeded  his  father  as  superintendent  of  the 
extensive  works  at  Wurzen,  near  Leipsic. 

The  fact  that  three  generations  of  Weickerts  have  continu- 
ously worked  with  three  generations  of  Patzschkes,  for  the  benefit 
of  their  business,  may  be  looked  upon  as  the  key  to  the  remarkable 
success  of  the  time-honored  firm  of  I.  D.  Weickert. 


otto  Wcifkort 


242 


PIANOS  AND  THEIR  MAKERS 


Moritz  Poelilmann,  born 
at  Ober  Redwitz,  January  27, 
1823,  began  the  manufacture 
of  cast  steel  wire  for  piano 
strings  about  1855.  Al- 
though he  demonstrated, 
from  the  very  beginning, 
that  his  wire  was  superior  to 
any  other  on  the  market,  he 
met  with  great  difificulties  in 
obtaining  sufficient  outlet  to 
make  his  business  profitable. 
It  required  all  of  that  inborn 
determination,  which  says, 
"  I  will,"  to  believe  in  final 
victory,  during  the  years  of 
disai^pointments  and  severe 
trials. 
Poelilmann  studied  to  improve  the  tensile  strength,  polish  and 
uniform  thickness  of  his  wire,  and  has  succeeded  in  outclassing 
all  his  competitors  since  the  Paris  exposition  of  1867.  Like  Iser- 
mann  and  Weickert,  he  became  the  father  of  an  industry,  which, 
multiplied,  especially  in  Germany,  mainly  for  the  reason  that 
through  Poelilmann 's  efforts  German  music  wire  achieved  an 
international  reputation.  Moritz  Poelilmann  died  March  26,  1902, 
in  his  eightieth  year.  The  business  is  carried  on  by  his  son,  Rich- 
ard Poelilmann. 


Moritz  Poehlmann 


ENGLAND 


Turning  to  England  with  its  rich  history  of  glorious  achieve- 
ments, we  find  the  grand  old  house  of  John  Broadwood  &  Sons, 
after  a  career  of  178  years,  in  renewed  glory  at  the  head  of  the 


MEN  WHO  HAVE  MADE  PIANO  HISTORY         243 


English  piano  industry. 
The  founder,  Burckhardt 
Tschudi,  born  at  Sclnvanden, 
Switzerland,  on  ^Mareli  13, 
1702,  came  to  London  in 
1718,  to  follow  his  trade  of 
cabinet  making.  He  soon 
found  employment  with  Ta- 
bel,  a  Flemish  harpsichord 
maker.  In  1732,  Tschudi  es- 
tablished himself  as  harpsi- 
chord maker  in  that  historic 
house,  33  Great  Poulteney 
Street,  which  the  later  firm  of 
Broadwood  &  Sons  occupied 
for  their  showrooms  and  city 
offices    until    1903.     It    was 

in  this  house  where  the  "  AVonder-child,"  Wolfgang  Amadeus 
Mozart,  practiced  on  the  harpsichord  which  Tschudi  had  built  for 
Frederick  the  Great,  King  of  Prussia. 

Tschudi  seems  to  have  been  the  first  to  change  his  name  for 
expedience'  sake,  for  he  traded  under  the  name  of  Burkat  Shudi. 
Besides  being  an  excellent  mechanic,  Shudi  was  also  a  very  shrewd 
business  man,  who  knew  the  value  of  advertising.  He  courted 
the  friendship  of  all  leading  musicians  who  came  to  London,  and 
formed  an  intimate  friendship  with  the  great  Handel,  who  intro- 
duced Shudi 's  harpsichords  to  the  English  nobility,  and  no  doubt 
assisted  materially  in  securing  Shudi 's  appointment  as  maker 
to  the  court  of  the  Prince  of  Wales.  The  composer  Haydn  was 
also  one  of  Shudi 's  intimate  friends  and  was  so  nmch 
at  home  in  Shudi 's  house  that  he  wrote  many  of  his  compositions 
there. 


John  Broad\vu(j(l 


244  PIAXOS  AND  THEIR  MAKERS 

"With  creditable  shrewdness  Shudi  presented  to  Frederick  tlie 
Great,  as  the  defender  of  the  Protestant  faith,  one  of  his  harpsi- 
chords, after  Frederick  had  won  the  battle  of  Prague,  for  which 
he  received  in  return  a  ring  bearing  a  portrait  of  Frederick.  In 
1776  he  was  commanded  to  build  two  harpsichords  for  the  "  New 
Palais  "  at  Potsdam,  and  later  on  Frederick  ordered  a  harpsi- 
chord of  Shudi  at  a  cost  of  $1,000.  Besides  profiting  by  the  pres- 
tige, Shudi  certainly  made  a  good  cash  profit  on  these  instru- 
ments. 

John  Broadwood,  born  at  Coekburns,  Scotland,  in  1732,  came 
to  London  about  1752.  A  joiner  by  trade,  he  eventually  found 
his  way  to  Shudi 's  shop  and  ingratiated  himself  so  strongly  in 
his  master's  favor  that  he  not  only  was  accepted  in  partnership, 
and  the  firm  name  changed  to  Shudi  &  Broadwood,  but  he  also 
married  Shudi 's  daughter  in  1769,  whereupon  Shudi  retired  from 
business  entirely.  Shudi  died  on  August  19,  1773.  Broadwood 
now  took  Shudi 's  son  in  partnership,  but  assumed  sole  control 
again  in  1783, 

John  Broadwood  was  a  man  of  exceptional  ability  in  many 
ways.  He  kept  in  close  touch  with  all  the  leaders  in  his  art,  asso- 
ciating intimately  with  Americus  Backers,  Stodart  and  other  in- 
ventors of  his  day,  always  keeping  open  house  for  his  friends 
among  the  musicians  and  other  artists,  so  that  33  Great  Poulteney 
Street  became  a  meeting  place  for  all  the  brilliant  people  of  London 
of  that  time.  His  receptive  mind  enabled  him  to  profit  by  this 
intercourse  with  intellectual  people,  and  he  never  hesitated  to 
ask  the  aid  and  judgment  of  his  artistic  or  scientific  friends,  when 
working  on  his  great  innovations  in  piano  construction.  When 
Broadwood  reconstructed  the  square  piano,  he  was  not  satisfied 
to  experiment  merely  as  an  empiric.  He  called  upon  his  friends, 
the  great  scientists.  Dr.  Gray  and  Cavalla,  of  the  British  Museum, 
to  benefit  by  their  knowledge  of  acoustics.    He  would  ever  search 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY  245 

for  scientific  laws  to  leain  cause  and  effect,  hence  his  inventions 
were  all  of  permanent  value.  In  1795,  he  admitted  his  son  James 
Shudi  Broadwood  to  partnership,  changing  the  firm  name  to  John 
Broadwood  &  Sou,  and  in  1808  his  son  Thomas  joined  the  firm,  the 
name  being  again  changed  to  John  Broadwood  &  Sons. 

After  the  death  of  John  Broadwood,  in  1812,  James  became 
the  head  of  the  house.  Brought  u})  in  the  intellectual  and  artistic 
atmosphere  of  that  house  in  Great  Poulteney  Street,  where  his 
grandfather  had  built  harpsichords  for  kings  and  nobility,  where 
Mozart,  Handel  and  Haydn  had  practiced,  and  where  his  father 
had  built  his  pianos  under  the  advice  and  according  to  the  demands 
of  Muzio  Clementi  and  other  masters  of  the  piano,  James  S. 
Broadwood  was  eminently  qualified  to  add  to  the  glory  of  the 
house,  as  a  piano  maker  and  a  business  man.  Thoroughly  in  sym- 
pathy with  the  liberal  views  of  life  current  in  the  world  of  artists, 
James  inaugurated  those  celebrated  Saturday  dinners  at  33  Great 
Poulteney  Street,  where  he  assembled  around  his  sumptuous  table 
all  of  the  great  musicians,  or  whoever,  in  London,  could  lay  claim 
to  superior  achievement  in  art  and  literature.  Xo  wonder  that 
the  praise  of  the  Broadwood  piano  was  sung  in  all  modern 
lang-uages.  Even  Beethoven,  with  all  his  loyalty  to  Xannette 
Streicher,  joined  the  chorus  of  Broadwood  admirers. 

Henry  Fowler  Broadwood  succeeded  James  in  1834  as  head 
of  the  house,  his  valuable  inventions  adding  largely  to  the  luster 
of  the  great  firm.  It  was  during  this  time  that  Chopin  gave  his 
last  recital  in  England  at  the  concert  hall  of  the  Broadwood  house 
in  Great  Poulteney  Street.  Henry  Fowler  Broadwood  passed 
away  in  1893  at  the  age  of  82,  having  guided  the  affairs  of  the 
house  for  over  50  years. 

Walter  Stewart  Broadwood  and  Thomas  Broadwood  became 
partners  in  1843,  George  Thomas  Eose  and  Frederick  Eose  in 
1857.    George  Daniel  Eose  joined  in  1883,  and  James  Henry  Shudi 


246  PIANOS  AND  THEIR  MAKERS 

Broadwood,  the  inventor  of  the  barless  steel  frame,  in  1894.  W.  C. 
Dobbs,  a  grandson  of  Henry  Fowler  Broadwood,  was  admitted 
to  partnership  in  the  same  year.  Thus  six  generations,  counting 
from  Slmdi  in  direct  descent,  have  guided  the  destiny  of  this  great 
house.    James  H.  S.  Broadwood  died  February  8,  1911. 

Conforming  to  the  changed  conditions  in  manufacturing  and 
business  methods,  the  Broadwoods  have  lately  erected  new  works, 
equipped  with  up-to-date  machinery  and  appliances  of  the  most 
apjjroved  character.  In  1903  the  historic  showrooms  on  Great 
Poulteney  Street  had  to  be  taken  down,  and  one  of  London's  most 
celebrated  landmarks  passed  into  oblivion. 

"With  traditional  progressiveness  the  house  of  Broadwood  has 
taken  the  lead  in  England  by  producing  entire  player  pianos  as 
a  specialty  in  their  factories  and  have  established  modern  show- 
rooms near  fashionable  Bond  Street.  It  should  be  mentioned  here 
that  the  Broadwoods  have  uninterruptedly  been  purveyors  to  the 
Court  of  St.  James  since  the  reign  of  George  I. 

The  firm  of  Collard  &  Collard  traces  its  origin  to  Longmann  & 
Broderip,  who  established  a  publishing  house  in  1767,  and  also 
built  some  pianos.  Muzio  Clementi,  who  had  become  wealthy,  and 
whose  compositions  were  published  by  Longmann  &  Broderip, 
invested  part  of  his  money  in  their  piano  factory,  finally  associat- 
ing himself  with  F.  W.  &  W.  P.  Collard,  under  the  firm  name  of 
Clementi  &  Company,  dementi's  great  reputation  as  a  virtuoso 
and  composer  was  a  distinct  advantage  to  the  young  firm,  but 
its  lasting  reputation  was  established  through  the  mechanical  and 
inventive  genius  of  F.  W.  Collard,  who  obtained  several  patents  for 
improvements  as  early  as  1811.  Upon  the  retirement  of  Clementi, 
the  firm  was  changed  to  Collard  &  Collard.  Under  the  aggressive 
management  of  Charles  Lukey  Collard,  who  became  sole  owner  in 
1859,  the  firm  forged  rapidly  to  the  front,  and  achieved  worldwide 
fame. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY         247 


In  1804  Thomas  Butcher 
started  a  i)iano  shop  and 
took  William  Cliallen  as  a 
partner  in  1816.  Upon 
Butcher's  retirement  in 
1830,  Challen  became  sole 
owner.  He  succeeded  in 
turning  out  excellent  up- 
right pianos  and  amassed  a 
fortune.  Eetiring  in  1862, 
he  left  the  business  to  his 
son,  C.  Challen,  who  ad- 
mitted his  son,  C.  H.  Chal- 
len, to  partnership  in  1873, 
from  which  time  the  firm 
has  been  known  as  Challen 
&  Son. 

The  firm  of  J.  &  J.  Hop- 
kinson  was  founded  in  1835  by  John  Hopkinson  at  Leeds.  In 
1846  he  took  his  brother,  James,  as  partner  and  moved  the  business 
to  London,  John  Hopkinson  was  a  thorough  piano  builder  and  in- 
vented many  improvements,  which  gave  his  firm  great  prominence. 
He  retired  from  business  in  1869  and  died  on  April  4,  1886. 

John  Brinsmead  started  in  business  in  1837.  In  1862  he 
patented  a  repetition  action,  for  the  further  improvement  of  which 
seven  patents  were  granted,  the  latest  in  1885.  His  sons,  Edgar 
and  Thomas  James,  took  active  part  in  the  management  of  the 
ever-growing  business,  which  soon  was  counted  among  the  leaders 
of  its  kind  in  England.  The  firm  was  appointed  piano  makers  to 
the  Prince  of  Wales,  and,  in  1911,  to  King  George  V.  Forty  prize 
medals  and  diplomas  were  awarded  to  them  at  various  expositions 
for  meritorious  exhibits. 


John  Brinsmead 


248 


PIANOS  AND  THEIR  MAKERS 


In  1870  John  Brinsmead 
was  elected  honorary  mem- 
ber of  L 'Academic  Xationale 
of  France,  and  in  1878  was 
decorated  with  the  cross  of 
the  Legion  of  Honor.  Many 
of  the  leading-  artists  have 
nsed  the  Brinsmead  pianos 
in  their  concerts  and  have 
indorsed  their  fine  qualities. 
Thomas  James  Brins- 
mead died  November  9,  1906. 
Edgar  William  Brinsmead 
died  November  18,  1907. 
John  Brinsmead  died  March 
17,  1908,  at  the  age  of  92. 
The  business  is  continued  at 
the  present  day  by  H.  Bil- 
linghurst,  a  grandson  of  John  Brinsmead. 

During  the  palmy  days  of  England's  supremacy  in  the  piano 
industry  of  Europe,  many  firms  sprang  up  who  have  held  their 
own  successfully  to  the  present  day.  Chappell  &  Co.,  who  began 
business  in  1811;  Eavestaff  &  Son,  established  in  1823;  B.  Squire 
&  Son,  in  1829;  Grover  &  Grover,  in  1830;  Samuel  Barnett  &  Son, 
and  Poehlmann  &  Son  (Halifax),  in  1832;  Strohmenger  &  Son,  in 
1835;  Witton,  Witton  &  Company,  in  1838;  Arthur  Allison  &  Com- 
pany, in  1810 ;  and  Monnington  &  Weston,  v^dio  started  in  1858,  are 
counted  among  the  progressive  and  successful  houses  of  to- 
day, that  readily  adopted  modern  methods  of  manufacturing,  and 
whose  product  upholds  the  fame  of  the  piano  industry  in  England. 


Thomas  James  Brinsmead 


PART  THREE 

CHAPTER  II 

France,  Erard,  Pleyel,  Kalkbrenner,  Wolff,  Lyon,  Herz,  Pape^ 
Kriegel stein,  Gaveau,  Bord,  Scliwander,  Herrburger. 

Spain,  E stela,  Guarra,  Cliassaign,  Montana. 

Belgium,  Berden,  Van  Hyfte,  Vits,  Boone  fils,  Gevaert,  Giinther,. 
Oor. 

Netherlands,  Allgauer,  Cnijpers,  Eijken  and  de  Lange. 

Scandinavia,  Hornung  &  Moller,  Ekstrem,  Malmsjo,  Hals. 

Russia,  Diederichs,  Scliroder,  Becker. 

Japan,  Yamaba,  Nisliikawa  &  Son. 


PART   THREE 

CHAPTER  II 
FRANCE 

BORN  in  the  old  historic  city  of  Strasburg  on  April  5,  1752, 
Sebastian  Erard  manifested,  as  a  child,  exceptional  me- 
chanical talent.  When  only  eight  years  of  age  we  find  him 
taking  a  school  course  in  architecture  and  practical  geometry.  His 
mind,  even  then  fertile  in  inventions,  would  suggest  new  problems 
and  he  would  find  his  own  way  of  solving  them.  He  had  the  desire 
to  learn  the  use  of  tools,  and  at  an  early  age  entered  his  father's 
shop  to  learn  cabinet  making. 

When  Sebastian  was  16  years  of  age  his  father  died,  and  from 
then  on  it  fell  to  Sebastian's  lot  to  care  for  his  mother  with  her 
three  small  children.  Not  wavering  long,  he  started  on  foot  for 
the  journey  to  Paris.  Arriving  there  in  1768,  he  found  employ- 
ment with  a  harpsichord  maker,  and  earned  such  good  wages  that 
he  could  well  take  care  of  those  he  had  left  behind  at  Strasburg. 

The  study  of  the  harpsichord  became  a  passion  witli  liim,  and 
he  soon  was  the  peer  of  his  employer,  who,  evidently  an  empiric, 
could  never  answer  Erard 's  searching  questions  as  to  the  scientific 
reasons  or  causes  in  harpsichord  construction.  Indeed,  it  was  but 
a  short  time  after  his  connection  with  the  harpsichord  maker  that 
Erard  could  teach  his  master.  He  began  to  construct  instruments 
according  to  his  own  ideas,  and  they  found  so  much  favor  that 
Erard 's  fame  spread  rapidly,  so  much  so  that  the  Duchess  of 

251 


252  PIANOS  AND  THEIR  MAKERS 

Villeroy,  a  great  patroness  of  art,  sought  liim  out  and  engaged 
him  to  build  an  instrument  for  her  use,  placing  a  well-equipped 
workshop  in  her  own  palace  at  his  disposal,  with  perfect  liberty 
to  follow  his  own  inclinations  and  desires,  just  as  Christofori  had 
done  at  the  palace  of  the  Duke  of  Tuscany. 

It  was  here  that  Erard  constructed  his  first  piano  in  1777.  It 
is  said  that  it  was  superior  to  any  other  piano  of  that  time.  Al- 
though he  enjoyed  the  respect  and  mo>^t  liberal  protection  of  the 
duchess,  Erard  when  25  years  of  age  had  greater  aspirations.  He 
left  the  palace  and  started  his  own  shop  in  the  Rue  de  Bourbon. 
Because  of  his  connection  with  the  aristocracy,  fostered  by  his 
influential  protector,  the  Duchess  of  Villeroy,  Erard 's  success  was 
immediate.  With  his  brother,  Jean  Baptiste,  he  founded  in  1785 
the  firm  which  for  many  years  thereafter  reigned  supreme  in  all 
the  concert  halls  of  the  civilized  world.  Xo  other  firm,  before  or 
after  Erard,  occupied  so  exalted  a  position  in  the  musical  world  as 
the  house  of  Erard,  from  1796  to  1855. 

That  Erard  had  become  a  man  of  culture  and  refinement  is 
illustrated  by  the  fact  that  he  managed  to  keep  in  close  touch  with 
the  French  aristocracy,  and  that  he  had  sufficient  influential  friends 
at  the  king's  court,  so  that  at  a  time  when  the  luthiers  of  Paris, 
who  suffered  in  business  because  of  Erard 's  competition,  demanded 
the  closing  of  his  shop  because  he  was  not  a  chartered  member  of 
the  guild,  the  king  issued  a  special  charter  for  Erard  as  privileged 
piano  and  harp  maker,  independent  of  the  guild.  What  splendid 
advertising !  Erard  had  downed  the  guild  that  had  set  out  to  ruin 
him,  and  he  stood  now  above  it  by  special  edict  of  the  king! 

The  French  Revolution  drove  Erard  to  London,  where  he  im- 
mediately started  a  piano  and  harp  factory.  As  in  Paris,  so  in 
London,  Erard  managed  to  obtain  the  entree  to  the  inner  circles 
of  the  English  aristocracy,  and,  because  of  his  interesting  and 
magnetic  personality,  made  warm  friends   among  the  peers   of 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


253 


England.  At  the  proper  time 
lie  understood  how  to  make 
good  use  of  his  influential 
friends.  When  he  made  the 
most  unusual  request  for  a 
renewal  of  the  English 
IDatent  on  his  repetition  ac- 
tion, he  depended  ui)on  his 
personal  friends  in  the 
House  of  Lords  to  carry  his 
l^oint.  By  their  support  suc- 
cess was  his ! 

His  forced  stay  in  Eng- 
land was  not  only  advan- 
tageous to  him  in  a  financial 
way — and  Erard  surely  was 
a  good  financier — he  profited 
largely     by     getting     more 

closely  acquainted  with  English  systems  of  piano  construction  and 
manufacturing  methods,  which  knowledge  he  put  to  excellent  use 
in  his  Paris  factory  upon  his  return  there  in  179G.  In  fact,  Erard 's 
prominence  as  a  manufacturer  dates  from  that  time,  and  for  many 
years  the  pianos  built  by  him  in  Paris  followed  the  English  models 
very  closely. 

However,  Erard  was  too  great  a  genius  to  follow  a  beaten  path 
long,  and  he  soon  developed  many  useful  inventions,  which  assured 
him  immortality  in  the  piano  world  and  made  his  pianos  the  fa- 
vorites of  all  the  great  artists  (excepting  Chopin)  for  almost  two 
generations,  an  unparalleled  record ! 

It  is  needless  to  say  that  Erard  was  a  princely  entertainer. 
For  many  years  the  Salon  Erard  was  the  center  of  the  intellectual 
life  of  Paris,  and  the  Salle  Erard  the  place  where  Liszt  and  all 


Sebastian  Erard 


254 


PIANOS  AND  THEIR  MAKERS 


A^/ 


V' 


the  great  virtuosos  of  the 
day  played  before  most  dis- 
tinguished audiences. 

Erard  divided  his  time 
between  Paris  and  London. 
His  brother  Jean  Baptiste 
had  charge  of  the  Paris  es- 
tablishment and  his  nephew 
Pierre  managed  the  London 
works.  Jean  Baptiste  Erard 
died  in  1826,  and  Sebastian 
Erard  on  August  5,  1831. 
He  made  his  nephew,  Pierre 
Erard,  sole  heir  of  his  busi- 
ness and  of  his  great  estate. 
Pierre  made  Paris  his 
domicile  in  1834,  going  to 
London  off  and  on  to  look 
after  the  business  affairs 
there.  He  died  at  Paris  in  1855.  The  Paris  factory,  under  the 
management  and  ownership  of  Mons.  A.  Blondel,  is  still  producing 
excellent  instruments,  which  are  preferred  by  leading  virtuosos, 
maintaining  the  exalted  position  created  by  the  great  genius  and 
wonderful  personality  of  Sebastian  Erard. 

At  the  village  of  Ruppersthal,  near  Vienna,  lived  a  school- 
master by  name  of  Pleyel.  He  was  twice  married  and  became  the 
father  of  38  children,  living  to  be  99  years  of  age.  His  twenty- 
fourth  child,  born  in  1757,  was  baptized  ''  Ignace."  The  boy 
seemed  to  be  talented,  and  his  father  therefore  soon  began  to  teach 
him  the  Latin  language,  and  also  obtained  a  good  music  teacher 
for  him.    Ignace  was  a  prodigy,  and  made  such  astounding  prog- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


255 


ress  in  his  music  studies  that 
the  wealthy,  music-loving 
Count  Erdoedy  agreed  to 
pay  the  great  composer, 
Haydn,  the  large  sum  of  $500 
per  year,  for  five  years,  for 
teaching  and  boarding  young 
Ignace,  who  was  then  15 
years  of  age.  After  finish- 
ing his  studies  with  Haydn, 
Ignace  went  to  Italy,  where 
he  spent  some  time  at  the 
court  of  Naples,  and  by  re- 
quest of  the  king  composed 
an  opera,  also  a  number  of 
orchestral  works. 

From  1783  to  1793  Pleyel 
occupied  the  chair  as  chapel-master  of  the  cathedral  of  Strasburg. 
During  that  period  he  composed  most  of  his  works,  which  had 
an  unusually  large  sale  all  over  Europe.  In  1793  he  resigned  as 
chapel-master  and  accepted  a  lucrative  engagement  at  London, 
where  he  appeared  in  concerts  in  direct  competition  with  his  old 
master  Haydn.  It  seems  that  London  did  not  appeal  to  him,  and 
he  soon  returned  to  Strasburg. 

During  the  French  Revolution,  Pleyel  was  suspected  of  royal 
tendencies  and  was  repeatedly  condemned  to  death.  Stoutly  main- 
taining his  loyalty  to  the  republic,  he  was,  as  a  test,  compelled  to 
compose  music  to  a  revolutionary  drama.  Constantly  watched  by 
two  gendarmes,  Pleyel  finished  the  work  in  seven  days.  It  was 
received  with  so  much  approval  by  the  populace  that  his  loyalty 
to  the  republic  was  never  again  questioned.    The  harassing  expe- 


Ignace  Pleyel 


256 


PIANOS  AND  THEIE  MAKEES 


rience  was,  however,  too 
much  for  sensitive  Pleyel 
and  he  soon  after  removed 
to  Paris,  In  1805  he  went 
into  the  music  publishing 
business  and  also  started  a 
piano  factory  in  1807.  In 
1824  he  transferred  his  busi- 
ness to  his  oldest  son  Camille 
and  retired  to  a  country  seat 
near  Paris,  where  he  died  on 
November  11,  1831. 

Camille  Pleyel,  born  at 
Strasburg  in  1792,  studied 
music  with  his  father,  and 
later  on  studied  piano  with 
Dussek.  He  demonstrated 
that  he  also  had  consider- 
able talent  as  a  composer,  and  one  of  his  biographers  says  that,  if 
he  had  not  been  a  music  seller  and  piano  maker,  he  would  prob- 
ably have  become  a  great  composer.  He  associated  himself  with 
Kalkbrenner,  the  renowned  musician  and  piano  virtuoso.  To- 
gether they  spent  several  years  at  London,  studying  piano  making 
with  Broadwood,  Collard  and  Clementi.  They  adopted  for  their 
pianos  the  upright  action  of  Wornum,  and  the  Broadwood  for 
their  grand  pianos,  and  organized  their  factory  according  to  the 
modern  methods  originated  in  London,  all  of  which  were  great 
factors  in  the  remarkable  success  of  the  firm. 

Both  principals  being  accomplished  pianists  of  high  order,  it 
was  but  natural  that  they  were  in  close  touch  with  the  brilliant 
men  of  the  profession.  Camille  Pleyel  formed  a  very  intimate 
friendship  with  Frederic  Chopin,  who  became  an  enthusiastic  ad- 


Camille  Pleyel 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 

vocate  of  the  Pleyel  piano, 
which  he  played  in  all  his 
concerts,  with  a  few  excei> 
tions.  Salle  Pleyel,  erected 
about  1829,  was  the  place 
where  Kalkbrenner,  Hum- 
mel, Hiller,  Moscheles,  Mme. 
Pleyel  and  many  others 
scored  their  triumphs,  and 
where  Frederic  Chopin  made 
his  bow  to  Paris  in  1832. 
Anton  Rubinstein,  at  the 
age  of  10,  played  there  in 
181:1,  followed  by  Saint- 
Saens,  who  made  his  debut 
at  the  age  of  10,  in 
1846. 

Camille  Pleyel  died  at  Paris,  May  1,  1855,  succeeded  ])y  his 
partner,  Auguste  Wolff,  the  firm  having  been  changed  to  Pleyel, 
Wolff  &  Company.  Under  Wolff's  intelligent  management  the 
business  expanded  so  that  the  production  rose  in  1889  to  2,500 
pianos  per  year.  Wolff  died  in  February,  1887,  since  which  time 
the  concern  has  been  guided  by  Gustave  Lyon.  The  firm  has  been 
incorporated  under  the  name  of  Pleyel,  Lyon  &  Company.  As 
far  as  I  know,  this  company  is  the  only  establishment  in  the  i)iano 
industry  that  has  installed  a  practical  pension  system  for  aged 
employees. 

Like  Clementi,  Cramer,  Kalkbrenner  and  Pleyel,  the  great 
piano  virtuoso,  Henri  Herz,  entered  upon  piano  making  after  his 
reputation  as  a  musician  was  established.  Born  on  January  6, 
1806,  at  Vienna,  he  phiyed  in  concert  at  Cobleuz  when  only  eight 


Auffuste  Wolff 


258 


PIANOS  AND  THEIR  MAKEES 


years  of  age.  AVlien  10 
years  old  he  was  admitted  as 
pupil  at  the  Paris  Conserva- 
tory, where  he  obtained  the 
first  prize  in  1818.  He  then 
made  extended  concert  tours 
through  France,  Germany 
and  England,  meeting  with 
great  success.  His  composi- 
tions were  also  very  popular, 
and  when  he  met  the  piano 
maker,  Klepfar,  about  the 
year  1825,  he  established  a 
piano  factory  at  Paris.  The 
enterprise  was  not  a  success 
in  the  beginning,  and,  in 
order  to  replenish  his  ex- 
chequer, Herz  undertook  a 
great  concert  journey  through  the  United  States,  California,  Mex- 
ico and  the  West  Indies  during  1849  and  1850.  Upon  his  return  to 
Paris  he  devoted  himself  largely  to  the  improvement  of  his  i^ianos, 
and  established  his  fame  among  piano  makers  by  the  practical 
simplifying  of  the  Erard  grand  action.  His  model  has  been  almost 
universally  adopted  and  is  known  as  the  Erard-Herz  action.  When 
he  erected  his  new  factory  he  provided  a  large  concert  hall,  which, 
under  the  name  of  "  Salle  Herz,"  became  famous  because  of 
the  concerts  given  there  by  many  of  the  masters  of  the  piano 
world. 

Herz's  grand  pianos  were  distinguished  by  their  rich  and  re- 
fined tone,  evenness  of  register  and  excellence  of  touch.  Wher- 
ever exhibited  these  instruments  were  awarded  high  prizes,  and 
always  ranked  among  the  best.    Herz  was  appointed  professor  of 


Henri  Herz 


MEN  WHO  HAVE  MADE  PIAXO  ITTSTOrvY 


259 


music  at  tlie  Paris  Conserva- 
tory in  1S42,  and  held  that 
position  nntii  187-1-.  Deco- 
rated by  the  King  of  Bel- 
i>inin,  he  was  also  appointed 
purveyor  to  the  Empress  of 
France.  He  died  in  Paris  on 
January  5,  1888. 

One  of  the  most  interest- 
ing leaders  of  the  French 
piano  industry  of  that  period 
was  Johann  Heinrich  Pape, 
born  at  Sarstedt,  Germany, 
on  July  1,  1789,  He  arrived 
at  Paris  in  1809;  but  shortly 
after  went  to  London,  study- 
ing there  for  over  a  year, 
returning  to  Paris   in  1811. 

He  took  charge  of  the  Pleyel  factory  and  began  to  build  pianos 
after  English  models.  In  1815  he  started  in  business  on  his  own 
account,  and  commenced  a  carnival  of  experiments,  the  record 
of  which  is  almost  amazing.  It  seems  as  if  Pape's  mind  just 
bubbled  over  with  ideas,  some  so  bizarre  and  queer  as  to  border 
on  the  ridiculous.  He  took  out  over  120  patents  for  piano  im- 
provements and  published  a  booklet  describing  his  inven- 
tions. 

Had  Pape,  only  to  a  small  degree,  possessed  the  orderly  mind 
of  a  John  Broadwood,  or  a  Sebastian  Erard,  he  would,  beyond 
doubt,  have  become  a  great  benefactor  to  the  industry.  As  it  was 
his  experiments  and  vagaries  are  only  interesting,  but  without 
value,  excepting  his  experimenting  with  hat-felt  for  hammer- 
covering,  which  led  the  way  to  a  permanent  improvement. 


Charles  Kriegelstein 


260 


PIANOS  AND  THEIR  MAKERS 


It  is  safe  to  say  that 
Pape's  restless  mind  did  not 
permit  him  to  turn  out  a 
number  of  perfect  pianos  in 
succession.  He  made  many 
very  good  pianos  in  his  big 
factory,  but,  before  one  of 
his  often  brilliant  ideas 
was  thoroughly  worked  out 
to  practical  usefulness,  he 
would  come  out  with  an- 
other idea  of  improvement, 
which  necessitated  yet  an- 
other change  in  the  piano 
then  under  construction. 
His  reputation  as  an  inven- 
tor spread  all  over  Europe, 
and  while  in  his  prime,  from 
1835  to  1855,  Pape  had  in  his  factory  young  men  from  all  parts 
of  the  Continent  studying  under  him.  Many  of  them  became  well 
known  later  on,  among  his  most  talented  pupils  being  Frederick 
Mathushek  and  Carl  Bechstein. 

Toward  the  end  of  his  career  Pape  was  beset  with  a  mania  for 
"building  pianos  in  all  kinds  of  impossible  forms — cycloid,  hexagon, 
■etc. — to  which  the  buying  public  did  not  take,  and,  although  he  at 
one  time  owned  one  of  the  largest  piano  factories  of  Paris, 
employing  over  300  men,  he  died  a  poor  man  on  February  2, 
1875. 

Jean  Georges  Kriegelstein,  born  at  Riquewihr  in  1801,  founded 
the  firm  of  Kriegelstein  &  Company  at  Paris  in  1831.  He  in- 
vented many  improvements  and  was  especially  successful  with  a 
small  upright  piano,  which  he  constructed  in  1812.    Although  only 


Jean  Schwander 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


261 


423^  inches  in  lieiglit,  it  had 
a  rich  tone  and  was  espe- 
cially even  in  its  registers. 
He  retired  from  business  in 
1858,  and  died  at  Paris  on 
November  20,  1865.  His  son, 
Charles  Kriegelstein,  born 
at  Paris,  December  16,  1839, 
followed  in  the  footsteps  of 
his  father,  with  marked  suc- 
cess, obtaining  high  honors 
for  his  pianos,  wherever  ex- 
hibited. The  business  is  now 
under  the  management  of 
Georges  Kriegelstein,  son  of 
Charles,  who  maintains  the 
high  reputation  which  his 
predecessors  acquired. 

J.  G.  Gaveau  started  to  make  pianos  at  Paris  about  1847,  and 
in  course  of  time  built  up  a  large  business,  turning  out  about  2,000 
high-class  pianos  per  year. 

Jean  Denis  Antoine  Bord,  born  at  Paris  in  1814,  was  the 
first  in  Paris  to  make  a  commercial  upright  piano  of  good  quality. 
He  started  his  business  in  1840,  and  brought  his  production 
to  over  4,000  pianos  per  year  in  1878.  He  died  on  March  4, 
1888. 

Action  making,  as  a  specialty,  had  its  cradle  in  Paris,  and  for 
many  years  Paris  supplied  nearly  all  the  piano  makers  on  the 
continent  of  Europe.  Jean  Schwander,  born  at  Lauterbach, 
Alsace,  in  1812,  came  to  Paris  in  1830,  and  learned  action  making 
at  Kriegelstein 's  factory.  He  started  his  own  shop  in  1844,  and 
Kriegelstein  became  his  first  customer.     Schwander  turned  out 


Josef  Herrburger 


262 


PIANOS  AND  THEIR  MAKERS 


such  excellent  work  that  his 
business  expanded  very  rap- 
idly. After  taking  Josef 
Herrburger  in  partnership  in 
1865  and  accepting  him  as 
son-in-law,  the  concern  as- 
sumed commanding  propor- 
tions. 

Josef  Herrburger,  born 
at  Dauendorf,  Alsace,  in  1832, 
went  to  Paris  in  1853  and 
began  to  work  for  Scliwan- 
der  in  1854.  He  demon- 
strated not  only  great  ability 
as  an  organizer,  but  also  as  a 
mechanician  with  inventive 
talent.  He  designed  many 
valuable  machines  and  appli- 
ances for  action  making  and  invented  several  valuable  improve- 
ments for  piano  actions.  The  Schwander  action  factory  became 
known  as  the  best  equipped  establishment  of  its  kind,  its  products 
were  shipped  to  all  parts  of  the  civilized  world  and  young  piano 
makers  from  all  over  the  Continent  came  to  the  Schwander  factory 
to  study  modern  methods  of  action  making.  Jean  Schwander 
died  in  1882  and  Josef  Herrburger  retired  from  business  in  1900, 
succeeded  by  his  son,  Josef  Herrburger,  Jr.,  who  established  a 
branch  factory  in  New  York,  maintaining  the  exalted  standing  of 
the  old  firm  in  both  hemispheres. 

SPAIX 

Barcelona  is  the  center  of  piano  manufacturing  in  Spain.    We 
find  that  Pindo  de  Pedro   Estela  established  his  shop   in   1830, 


Johann  Frifdricli  beliruder 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


263 


Hermanos  Guarra  and  Louis  Izalx'l  in  ISGO,  Cliassaign  Freres  in 
1864.    At  Madrid,  Montana  connnonced  bnsinoss  in  1864. 

BELGIUM    AND    HOLLAND 

Belgium  can  boast  of 
older  firms.  FranQois  Ber- 
den  &:  Company  commenced 
business  at  Brussels  in  1815. 
In  the  city  of  Ghent  four 
firms  started  within  a  few 
years,  about  the  middle  of 
the  19th  century.  B.  Van 
Hyfte  was  established  in 
1835,  Emile  Vits  in  1839, 
Boone  Fils  in  1839  and  V. 
Gevaert  in  1846.  J.  Giin- 
ther  of  Kirchheim  started  in 
Brussels  in  1845,  and  J.  Oor 
in  1850. 

The  Netherlands  has 
three  firms  of  excellent  standing- — Allgauer  &  Zoon  of  Amsterdam, 
established  in  1830 ;  J.  F.  Cuijpers  of  Hague,  started  in  1832,  and 
Eijken  &:  de  Lange  of  Rotterdam,  in  1852. 

SCANDINAVL4. 

The  respected  firm  of  Hornung  (S:  Moller  of  Copenhagen, 
founded  in  1827,  has  always  been  in  the  lead.  G.  Ekstrem  c^'  Com- 
pany started  at  Malmo  in  1836.  I.  G.  Malmsjo  of  Goteborg 
established  in  1843  and  Brodrene  Hals,  who  started  at  Christiania 
in  1847,  are  all  known  beyond  their  own  country  as  makers  of  high- 
class  pianos,  and  from  their  shops  the  ])iano  manufacturers  of 
America  have  drawn  many  of  their  best  workmen. 


Carl  Xicolai  SchWidor 


264 


PIANOS  AND  THEIR  MAKERS 


RUSSIA 

The  firm  of  Gebr.  Diede- 
riclis  was  established  in  St. 
Petersburg  in  1810.  No 
record  of  this  old  firm  is 
available ;  it  is,  however,  safe 
to  assume  that  they  came  to 
Russia  from  Germany. 

Johann  Friedrich  Schro- 
der, born  at  Stralsund  in 
1785,  started  to  make  pianos 
in  St.  Petersburg  in  1818 
and  built  up  a  respectable 
business.  After  his  death  in 
1852,  his  son,  Karl  Michael 
Schroder,  born  in  St.  Peters- 
burg in  1828,  having  studied 
with  Erard  and  Herz  at 
Paris,  made  good  use  of  what 
he  had  learned  and  began  to  build  excellent  grand  pianos,  which 
found  great  favor  with  the  artists,  bringing  his  firm  into  the  front 
rank  of  European  piano  makers.  His  pianos  were  awarded  the  high- 
est honors  wherever  exhibited,  and  Schroder  was  honored  with  deco- 
rations by  the  Emperors  of  Russia  and  Austria,  and  the  King  of 
Belgium,  and  was  elected  a  member  of  the  Legion  of  Honor  in  recog- 
nition of  his  services.  He  died  at  Frankfort-on-Main,  May  5, 
1889. 

His  son,  Carl  Nicolai  Schroder,  continued  the  progressive 
policy  of  his  father,  following  closely  all  modern  movements  in 
piano  construction,  as  well  as  factory  organization  and  equipment. 
The  firm  has  been  appointed  purveyor  to  the  Emperors  of  Russia, 
Austria,  Germany,  and  the  Kings  of  Denmark  and  Bavaria.    After 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


265 


Carl  Nicolai  Schroder's 
death  tlie  management  of  the 
establishment  passed  into  the 
hands  of  his  sons,  John  and 
Oskar  Schroder. 

Jacob  Becker  went  from 
Neustadt-an-der-Hardt,  Ger- 
many, to  St.  Petersburg  and 
established  his  business  in 
1841.  Becker  was  an  inde- 
pendent thinker  and  experi- 
mented with  many  innova- 
tions. His  pianos,  especially 
his  concert  grands,  were  ex- 
cellent instruments,  often 
used  by  leading  virtuosos. 
Becker  retired  from  business 
in  1871,  to  be  succeeded  by  Michael  A.  Bietepage,  under  whose 
energetic  management  the  business  took  on  commanding  propor- 
tions. The  firm  received  appointments  as  purveyor  to  the  Em- 
perors of  Russia  and  Austria,  the  King  of  Denmark  and  the  Grand 
Dukes  Constantin  and  Xicolai  of  Russia.  M.  A.  Bietepage  was 
honored  by  election  as  hereditary  honorable  citizen  of  St.  Peters- 
burg and  commander  of  the  St.  Stanislaus  Order.  In  1904  Biete- 
page retired  and  the  firm  is  now  controlled  by  Carl  Schroder. 


A.  Bietepage 


JAPAN 


Although  Japan  was  represented  at  the  Paris  Exposition  of 
1878  with  a  square  piano,  the  piano  industry  is  developing  only 
slowly  there.  Torakusu  Yamaha  established  his  business  of  mak- 
ing musical  instruments  in  1880.     In  1885  he  produced  the  first 


2G6 


PIAXOS  AND  THEIR  MAKERS 


organ  made  in  Japan  and 
organized  The  Nippon  Gak- 
ki  Siezo  Kabushiki  Kwaislia 
(Jaj^anese  Musical  Instru- 
ment Manufacturing  Com- 
pany) in  1889  with  a  capi- 
tal of  30,000  yen.  In  1907 
the  capital  was  increased 
to  600,000  yen,  of  which 
nearly  500,000  yen  is  paid 
up.  Yamaha  is  president 
of  the  company,  which  owns 
extensive  factories  at  Ham- 
mamatsu.  This  company 
produces  now  about  600 
l^ianos,  8,000  organs  and 
13,000  violins  per  year, 
mainly  patterned  after 
American  and  German  models. 

Nishikawa  &  Son  of  Yokohama,  established  in  1885,  manufac- 
ture about  200  pianos  and  1,300  organs  per  year.  The  senior 
member  of  this  firm  was  a  maker  of  Japanese  lutes  and  other 
musical  instruments,  and  is  still  making  violins.  His  son  learned 
piano  making  at  the  Estey  factory  in  New  York. 


Torukusu  Yamaba 


PART  THREE 

CHAPTER  III 

America,  Creliore,  Osborn,  Babcock,  MacKay,  Stewart,  The  Cliick- 
erings,  Bacon  &  Kaven,  James  A.  Gray,  William  Bourne,  Mc- 
Phail,  The  Lindemans,  Schomacker,  The  Knabes,  Steinways, 
Hazeltons,  Fischers,  Stieff,  Weber,  Steck,  etc.,  Kimball, 
Cables,  Wulsin,  Starr,  Healy,  Wurlitzer,  etc.,  Estey,  The 
Whites,  Packard,  Votey,  Clark,  etc. 


PART    THREE 

CHAPTER  III 
AMERICA 

THE  history  of  prominent  piano  men  and  firms  of  the  United 
States  portrays  not  only  the  restlessness  of  the  American 
people,  differing  from  the  conservatism  of  the  old  world, 
but  also  demonstrates  in  a  large  degree  that  America  is  the  land 
of  unlimited  opportunities  and  possibilities.  Nowhere  else  have 
firms  founded  on  meritorious  production  and  sane  business 
methods  gone  so  quickly  into  oblivion,  and  nowhere  else  have  such 
stunning  successes  been  achieved  as  in  the  United  States. 

The  progress  in  technical  as  well  as  commercial  development 
has  been  rapid  because  America  could  draw  from  the  old  world 
its  best  minds,  or  benefit  by  their  products,  assimilate  and  improve 
them.  It  had  the  whole  civilized  world  to  draw  from,  and  was 
never  slow  in  producing  original  ideas.  The  seemingly  endless 
natural  resources  of  a  whole  continent  were  at  the  command  of 
the  industry,  and  its  only  drawback  in  the  early  days  was  the  lack 
of  a  sufficiently  large  clientele  of  cultured  jieople  who  would  buy 
the  instruments,  as  compared  with  Europe.  Hence  we  find  that, 
although  square  pianos  were  made  in  America  at  about  the  same 
time  as  in  England  and  Germany,  it  took  about  fifty  years  longer 
to  develop  the  industry  to  anything  like  the  magnitude  which  it 
had  approached  in  Europe. 

2G9 


270  PIANOS  AND  THEIR  MAKERS 

Benjamin  Creliore,  wlio  had  establislied  a  reputation  as  an 
expert  maker  of  violins,  cellos  and  other  musical  instruments, 
exhibited  a  harpsichord  in  1791,  and  soon  thereafter  built  pianos 
at  Milton,  near  Boston.  In  his  shop  he  had  John  Osborn,  Alpheus 
and  Lewis  Babcock  as  pupils.  In  1810  the  Babcock  brothers 
began  to  make  pianos  in  Boston.  The  great  panic  of  1819  ruined 
their  business,  but  we  hear  of  Alpheus  Babcock  again  in  1821,  in 
partnership  with  John  MacKay,  that  commercial  genius  who  later 
assisted  so  strongly  in  building  up  the  fame  of  the  Chickering 
firm. 

John  Osborn,  the  most  talented  of  Crehore's  pupils,  started 
in  business  in  1815.  It  was  in  Osborn 's  shop  that  Jonas  Chicker- 
ing learned  the  art  of  piano  making.  Born  in  New  Ipswich,  N.  H., 
on  Ai3ril  5,  1798,  Chickering  came  to  Boston  about  1817,  after  he 
had  served  his  apprenticeship  as  a  cabinetmaker  and  joiner.  AVell 
educated  and  possessing  decided  mechanical  talents  of  a  high 
order,  Chickering  was  attracted  to  the  art  of  piano  making  and 
was  fortunate  in  finding  a  master  like  Osborn  as  teacher.  He 
studied  with  Osborn  until  1823,  when  James  Stewart,  who  had 
come  from  Baltimore  to  go  in  partnership  with  Osborn,  but  soon 
quarreled  with  him,  proposed  partnership  to  Chickering,  which  the 
latter  accepted,  and  the  firm  of  Stewart  &  Chickering  opened  their 
shop  on  Tremont  Street  in  that  year. 

Stewart  was  one  of  those  restless,  unsettled  inventors,  who 
needed  the  methodical  and  painstaking  young  Chickering  to  give 
to  his  inventions  the  practical  form.  It  soon  developed,  however, 
that  Chickering  was  not  only  the  better  workman  of  the  two,  but 
also  the  far  more  scientific  piano  maker.  The  firm  was  dissolved 
in  182G.  Stewart  went  to  London  to  take  a  prominent  position 
with  Collard  &  Collard.  Jonas  Chickering  continued  the  business, 
making  excellent  pianos,  but  his  talents  were  more  in  the  line  of 
inventing  and  constructing  than  merchandising.    He  also  suffered 


MEN  WHO  HAVE  MADE  PIAXO  HISTOEY  271 


from  lack  of  capital,  so  that 
liis  progress  was  rather  slow 
until  John  MacKay,  who  had 
left  Babcock,  joined  him  as 
a  partner.  This  closed  tlie 
chain  of  ( flickering 's  con- 
nection with  Crehore,  the 
founder  of  the  Boston  school, 
consisting  of  Osborn  and 
Lewis  Babcock,  pupils  of 
Crehore;  and  Alpheus  Bab- 
cock, partner  of  MacKav, 
the  latter  joining  Chickering. 

MacKay  had  had  con- 
siderable experience  as  a 
merchant,  having  traveled 
much  to  England  and  other 
foreign  countries,  and  was 
unquestionably  a  commer- 
cial genius.  AVith  sufficient  capital  at  his  command,  and  faith  in 
Chickering 's  excellent  pianos,  MacKay  started  an  aggressive  sell- 
ing campaign,  making  the  Chickering  piano  known  in  all  the  cities 
of  the  United  States.  Chickering,  freed  from  all  financial  and 
business  cares,  devoted  his  whole  time  and  attention  to  the  develop- 
ment and  improvement  of  his  piano,  and  many  of  his  best  inven- 
tions were  perfected  during  the  period  of  his  partnership  with 
MacKay,  which  came  to  an  untimely  end  in  1841.  MacKay,  hav- 
ing gone  in  a  ship  of  his  own  to  South  America  to  procure  fancy 
woods  for  the  Chickering  factory,  never  returned  from  that  voy- 
age, nor  was  his  ship  ever  heard  from. 

Once  more  Jonas  Chickering  had  to  assume  entire  charge  of 
the  business.    He  continued  MacKay 's  aggressive  policy  with  great 


272  PIANOS  AND  THEIR  MAKERS 

energy,  maintaining  the  highest  possible  prices  for  his  pianos, 
and  spending  money  liberally  for  the  necessary  publicity.  He 
exhibited  his  pianos  at  every  important  exposition,  going  to  the 
World's  Fair  of  London  in  1851  with  a  number  of  instruments; 
engaged  prominent  virtuosos  to  play  his  grand  pianos  in  concert; 
and  took  active  part  in  the  musical  life  of  his  home  city,  acting  as 
vice-president  of  the  great  Handel  and  Haydn  Society  as  early 
as  1834,  and  later  on  as  its  president  for  seven  years. 

"While  paying  proper  attention  to  the  commercial  and  artistic 
necessities  of  his  great  establishment,  Jonas  Chickering  was  ever 
true  to  his  love  for  scientific  research  and  experiments,  to  improve 
his  pianos.  He  was  not  an  empiric,  who  would  experiment  hap- 
hazard with  an  idea.  Whenever  he  had  discovered  a  possible 
improvement,  he  would  work  out  the  problem  in  its  entirety  on  his 
drawing  board,  until  he  had  proven  to  his  own  satisfaction  its 
practicability,  and  not  before  would  he  turn  it  over  to  his 
mechanics  for  execution.  It  was  this  painstaking  care  down  to  the 
smallest  detail  which  assured  the  Chickering  piano  the  place  of 
honor  in  the  first  ranks. 

When  at  the  height  of  his  prosperity  Jonas  Chickering  met 
with  a  great  calamity.  On  December  1,  1852,  his  factory  was 
totally  destroyed  by  fire,  involving  a  loss  of  $250,000.  Undaunted, 
Chickering  at  once  designed  plans  for  a  new  and  larger  factory, 
which  was  soon  erected,  and  stands  to  this  day  on  Tremont  Street, 
Boston,  as  a  monument  to  the  exceptional  ability,  talent  and  cour- 
age of  Jonas  Chickering.  Even  now,  nearly  60  years  after  its 
erection,  this  factory  is  considered  one  of  the  best  for  its  purpose. 

Jonas  Chickering  died  on  December  8,  1853,  in  his  fifty-sixth 
year.  The  extraordinary  nervous  strain  of  the  short  period  from 
the  destruction  of  his  old  factory  to  the  completion  of  the  new 
works  had,  no  doubt,  affected  his  constitution.  He  had  educated 
all  of  his  three  sons  as  practical  piano  makers  and  admitted  them 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


273 


to  partnership  in  1852,  when 
the  firm  was  changed  to 
Chickering  &  Sons.  The 
three  brothers  made  a  rare 
and  most  fortunate  combina- 
tion. 

Thomas  E.  Chickering, 
the  eldest  son,  soon  ex- 
hibited pronounced  commer- 
cial talents  and,  as  a  man  of 
the  world,  represented  the 
firm  with  excellent  results  in 
social  circles,  making  friends 
among  artists,  literary  and 
scientific  men.  His  promis- 
ing career  was  prematurely 
cut  short  by  his  death  on 
February  14,  1871. 

This  sad  event  made  C.  Frank  Chickering,  born  at  Boston  on 
January  20,  1827,  the  head  of  the  firm.  Having  inherited  his 
father's  talents  as  a  designer  and  inventor,  he  had  been  in  charge 
of  the  construction  department  since  his  father's  death  in  1853. 
While  studying,  as  a  young  man,  he  had  impaired  his  health  and, 
upon  the  advice  of  his  i^hysician,  in  1844  he  went  on  a  voyage  to 
India  in  a  sailing  vessel.  He  took  with  him  a  number  of 
pianos,  which  he  sold  in  India  at  good  prices,  and  thus  the  firm 
of  Chickering  became  the  first  exporters  of  American  made 
pianos. 

In  1851  Frank  accompanied  his  father  to  London  to  take  care 
of  their  exhibit  at  the  World's  Fair.  The  prolonged  stay  in  what 
was  then  the  home  of  the  most  advanced  piano  construction  was 
of  great  and  lasting  advantage  to  young  Frank.    It  gave  him  the 


Thomas  E.  Chickering 


274 


PIANOS  AND  THEIR  MAKERS 


C.  Frank  Chickering 


opportunity  to  study  and 
compare  the  work  of  the  best 
brains  of  the  industry  as  it 
then  existed  in  Europe,  and 
furthermore  he  became  ac- 
quainted with  the  advanced 
manufacturing  methods  of 
the  celebrated  London  estab- 
lishments. Returning  from 
abroad,  Frank  utilized  his  ex- 
periences with  eifect,  greatly 
improving  the  Chickering 
pianos. 

Appreciating  the  impor- 
tance of  New  York  as  an  art 
center,  Chickering  &  Sons 
opened  extensive  warerooms 
there  under  the  direct  management  of  C.  Frank  Chickering,  and 
in  1875  erected  Chickering  Hall,  on  Fifth  Avenue.  In  this  hall, 
virtuosos  like  Biilow,  Josetfy,  de  Pachmanu,  Henry  Ketten  and 
many  others  gave  their  never-to-be-forgotten  concerts  on  the 
Chickering  grand  pianos,  designed  and  constructed  by  C.  Frank 
Chickering. 

Chickering  Hall  was  chosen  as  a  permanent  home  by  leading 
glee  clubs,  such  as  the  Mendelssohn,  the  English  Glee  Club,  the 
New  York  Vocal  Society  and  by  those  eminent  ajpostles  of  classic 
chamber  music,  the  New  York  Quartette,  composed  of  C.  Mollen- 
hauer,  M.  Schwarz,  George  Matzka  and  F.  Berg-ner,  and  the  Phil- 
harmonic Club  under  the  able  leadership  of  Richard  Arnold. 
Remenyi  and  Wilhelmi  a})peared  as  soloists  with  Gotthold  Carl- 
berg's  Orchestra,  and  Frank  Van  der  Stucken  conducted  symphony 
concerts  for  several  seasons  in  Chickering  Hall,  to  be  followed  by 


MEN  AVHO  HAVE  MADE  PIAXO  HISTOKY 


275 


Anton  Soidl  and  tlie  Bos- 
ton Symphony  Orcliostra 
with  Franz  Rnnnnel,  Xavor 
Scharwenka  and  Richard 
Hoffmann  as  soloists.  The 
great  huikling-  contained, 
besides  the  concert  liall 
with  a  seating  cai)acity  of 
2,000,  the  showrooms  for 
the  flickering  pianos,  offices, 
rei)air  shoi)s  and  also  the 
drafting  rooms,  where  C 
P^rank  ("hickering  designed 
and  worked  out  his  in- 
ventions. 

It  was  but  natural  that 
in  Xew  York,  as  in  Boston, 
Frank    should    be    in    close 

touch  with  artistic  and  literary  circles.  Among  his  personal 
friends  was  one  J.  H.  Paine,  a  composer  and  critic  of  con- 
siderable ability.  He  was  generally  known  as  ''  Miser  "  Paine, 
and  would  gladly  accept  C'hickering's  hospitality  and  aid  at  all 
times.  He  was  considered  a  i)oor  man  by  all  who  knew  him. 
One  day  he  brought  to  Frank  Chickering  a  bundle  wrapped  up  in 
a  bandanna  handkerchief,  asking  Chickering  to  kindly  ])lace  the 
jjackage  in  his  safe.  Chickering  assumed  that  the  bundle  con- 
tained manuscripts  of  Paine 's  compositions  and  accepted  the 
charge.  About  17  years  thereafter  Paine  died,  without  leaving  a 
will  or  any  disposition  of  the  aforesaid  bundle,  Chickering  sent 
for  Paine 's  legal  representative,  the  bundle  was  ojiened  in  his 
joresence  and  found  to  contain  over  $400,000  worth  of  bonds  and 
currency.      Chickering    delivered    the    valua1)le    package    to    the 


George  H.  Chickeriiif 


276  PIANOS  AND  THEIR  MAKERS 

lawyer,  who  was  obliged  to  hunt  up  distant  relatives  of  Paine  to 
distribute  the  heritage. 

C.  Frank  Chickering  was  in  all  respects  one  of  nature's  noble- 
men. In  appearance  he  reminded  one  forcibly  of  the  Grand 
Seigneurs  of  Louis  XIV 's  time.  He  died  in  New  York,  March 
25,  1891. 

George  H.  Chickering,  the  youngest  of  the  brothers,  was  born 
at  Boston  on  April  18,  1830.  After  acquiring  an  excellent  educa- 
tion, he  turned  to  the  bench  and  worked  under  his  father's  tutelage. 
For  many  years  George  made  every  set  of  hammers  used  in  their 
concert  grands.  He  was  an  exceedingly  neat  and  artistic  me- 
chanic. After  1853  he  took  charge  of  the  factory  management  and 
performed  his  arduous  duties  most  faithfully  until  his  death,  on 
November  17,  1896.  All  three  of  the  brothers,  like  their  father, 
took  an  active  part  in  the  artistic  life  of  their  home  city  and  each 
of  them  served  in  turn  with  honor  as  president  of  the  Handel  and 
Haydn  Society. 

The  Chickering  pianos  were  always  awarded  the  highest  hon- 
ors wherever  exhibited,  and,  at  the  World's  Fair  at  Paris,  1867,  C. 
Frank  Chickering  was  decorated  by  the  Emperor  of  the  French 
with  the  Cross  of  the  Legion  of  Honor. 

The  business  of  this  renowned  firm  is  successfully  carried  on 
by  a  corporation  which  has  joined  the  American  Piano  Company, 
maintaining  the  high  character  of  its  products.  True  to  the  tradi- 
tions of  the  honored  name,  Chickering  &  Sons  have  of  late  years 
been  instrumental  in  reviving  interest  in  the  beauties  of  the  old 
clavichord,  and  are  building  such  instruments  for  those  who  enjoy 
the  study  of  the  compositions  of  Johann  Sebastian  Bach,  Scar- 
latti and  others  who  wrote  for  the  clavichord.  The  factory  on 
Tremont  Street,  Boston,  has  become  a  landmark  of  that  historic 
city,  but  Chickering  Hall,  New  York,  had  to  give  way  to  a  modern 
building  for  business  purposes. 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


277 


Next  to  Cliickering  & 
Sons,  the  Bacon  Piano  Com- 
pany of  New  York  is  most 
closely  connected  to  the 
founders  of  the  industry  in 
America.  Robert  Stodart  of 
London  started  in  New  York 
in  1820.  In  1821  Dubois 
joined  him  and  the  firm  was 
Dubois  &  Stodart  until  1836, 
when  Stodart  retired  and 
George  Bacon  and  Chambers 
joined.  Five  years  later  Du- 
bois and  Chambers  withdrew 
and  Raven  joined,  the  lEirm 
being  changed  to  Bacon  & 
Raven,     which     was     again 

changed  to  Raven  &  Bacon,  when  George  Bacon  died  in  1856  and 
his  son,  Francis  Bacon,  entered  as  partner.  In  1904  the  firm  was 
incorporated  under  the  title  of  the  Bacon  Piano  Company,  with 
Chas.  M,  Tremaine  as  president  and  W.  H.  P.  Bacon,  son  of  Fran- 
cis, as  vice-president. 

James  A.  Gray,  born  at  New  York  in  1815,  learned  his  trade 
with  Firth  &  Pond  of  New  York  from  1831  to  1835,  when  he  was 
called  to  Binghamton,  N.  Y.,  to  superintend  Pratt's  piano  factory. 
In  1836  AVilliam  Boardman  of  Albany  induced  him  to  take  charge 
of  his  establishment,  and  two  years  later  the  finn  became  Board- 
man  &  Gray.  Possessing  decided  talents  as  an  inventor.  Gray 
made  many  very  interesting  experiments,  among  which  his  isolated 
iron  rim  and  frame  and  the  corrugated  soundboard  are  the  most 
noteworthy.    For  a  time  he  had  great  faith  in  the  value  of  those 


James  A.  Gray 


278 


PIANOS  AND  THEIR  MAKERS 


f 

^^ 

A.  M.  McPhail 


inventions.  He  even  took  a 
number  of  i^ianos  containing 
the  same  to  London  for  ex- 
hibition in  1850,  but  after  a 
comparatively  short  time  he 
discarded  all  of  them,  prefer- 
ring to  build  a  tine  piano 
along  conventional  lines.  He 
educated  his  sons,  James  S. 
and  William  James,  as  thor- 
ough piano  makers,  and  the 
time-honored  firm  maintains 
its  reputation  for  high-class 
l)roduction  to  this  date.  Wil- 
liam Boardman,  who  re- 
tired at  an  early  date  from 
the  firm,  died  January  5, 1881, 
at  the  age  of  81  years.  James  A.  Gray  took  a  more  or  less  active 
part  in  the  business  until  his  death  on  December  11, 1889.  His  sons, 
William  James  Gray,  born  June  13,  1853,  and  James  Stuart  Gray, 
born  September  7,  1857,  are  continuing  the  business  with 
success. 

One  of  the  pioneers  who  attempted  to  force  civilization  in  its 
higher  development  upon  the  ''  Far  West  "  was  William  Bourne. 
He  started  a  piano  factory  at  Dayton,  Ohio,  in  1837,  at  a  time 
when  the  savage  Indian  was  still  a  ''  near  neighbor."  Evidently 
Bourne  did  not  find  the  expected  encouragement  at  Dayton,  and 
removed  in  1840  to  Cincinnati.  Even  here  his  art  was  not  appre- 
ciated, and  he  therefore  accepted  in  1842  a  position  in  the  Chick- 
ering  factory,  where  he  remained  until  1846,  when  he  organized 
the  firm  of  William  Bourne  &  Company.    A  piano  maker  of  the 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


279 


old  school,  Bourne  could  turn 
out  nothing  but  thoroughly 
first-class  pianos.  Since  his 
death,  in  1885,  the  business 
has  been  continued  by  his 
son,  Charles  H.  Bourne. 

A.  M.  McPhail  started 
his  business  in  Boston  in 
1837.  Born  at  St.  Andrews, 
New  Brunswick,  he  came  to 
Boston  as  a  boy,  and  was 
apprenticed  to  the  renowned 
piano  maker,  Gilbert.  He 
learned  to  make  pianos  so 
well  that  he  soon  established 
a  high  reputation  for  his 
own  product.  He  was  a  piano 
maker  of  the  old  school,  who 

took  pride  in  his  work  and  considered  the  artistic  success  more 
than  the  commercial,  although  in  his  long  career,  from  1837  to 
1891,  he  met  all  of  his  obligations  with  never  failing  promptness. 
As  a  citizen  he  took  a  great  interest  in  educational,  artistic  and 
musical  affairs,  and  also  served  as  representative  in  the  Massa- 
chusetts Legislature.  He  retired  in  1891,  and  died  at  Omaha, 
October  6,  1902.  The  business  is  carried  on  by  the  A.  ^[.  McPhail 
Company,  a  corporation. 

Among  the  many  illustrious  Germans  who  have  done  so  much 
for  the  uplifting  of  the  piano  industry  in  New  York,  "William 
Lindeman  deserves  particular  credit  for  being  the  first  who  had 
the  courage  to  combat  successfully  the  unworthy  prejudice  and 
attitude  of  the  people  of  his  day  toward  the  German  element. 


William  Lindeman 


280 


PIANOS  AXD  THEIR  MAKERS 


Born  at  Dresden,  Germany, 
in  1795,  where  lie  also 
learned  his  art  of  piano  mak- 
ing, Lindeman  came  to  New 
York  in  1834  and  established 
his  business  in  1836.  Al- 
though his  pianos  were  of 
the  highest  order,  success 
came  slowly,  but  when  his 
son  Henry  brought  out  his 
'^  Cycloid  "  piano,  a  rather 
happy  compromise  between  a 
grand  and  square  piano,  in 
1860,  the  firm  secured  a 
strong  hold  ujDon  the  j^iano- 
buying  public.  The  Civil 
War  interfered  seriously 
with  a  more  raj^id  develop- 
ment, and  it  was  left  to  Henry  to  push  the  firm  into  the  front  rank. 
Henry  Lindeman,  born  in  New  York  on  August  3,  1838,  was 
admitted  to  partnership  in  1857,  and  after  the  death  of  William 
Lindeman  on  December  21,  1875,  assumed  the  management  and 
continued  the  work  of  his  father.  Henry's  son,  Samuel  G.,  was 
admitted  in  1901,  and  the  firm  name  of  Henry  and  S.  G,  Lindeman 
was  adopted. 

In  1838,  shortly  after  Lindeman 's  appearance  in  the  arena^ 
Johann  Heinrich  Schumacher,  who  changed  his  name  to  John 
Henry  Schomacker  for  expedience'  sake,  established  himself  in 
partnership  with  William  Bossert  in  Philadelphia.  Schomacker,. 
born  in  Schleswig-Holstein  on  January  1,  1800,  learned  piano  mak- 
ing in  the  master  schools  of  Vienna.    About  1830  he  established 


Henry  Lindeman 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


281 


liimself  at  Lalir,  Bavaria, 
and  came  to  America  in 
1837.  For  one  year  he 
worked  with  E.  X.  Scherr, 
one  of  Philadelphia's  best- 
known  makers  of  those  days. 
Schomacker  was  not  only  an 
excellent  and  thorough  })iano 
maker,  but  also  a  very  force- 
ful man  with  almost  bound- 
less ambition.  His  partner 
was  conservative  and  per- 
fectly satisfied  with  a  mod- 
erate income.  Schomacker 
finally  decided  to  go  his  own 
way,  and  the  partnershij) 
was  dissolved  in  1842.  With 
restless  energy  Schomacker 

first  improved  his  pianos,  and  in  1845  he  was  awarded  the  silver 
medal  of  the  Franklin  Institute  of  Philadelphia  for  the  "  best  " 
piano  exhibited.  At  the  American  Institute  Exhibition  in  Xew 
York  in  1848,  he  received  the  first  prize,  a  silver  medal,  in  com- 
petition with  a  number  of  American  pianos,  and  at  the  great 
World's  Fair  at  the  Crystal  Palace  in  Xew  York,  in  1853,  he  carried 
off  the  gold  medal.  To  meet  the  demands  of  his  ever-growing  busi- 
ness, he  erected  in  1855  the  great  factory  which  stands  to-day  at 
Catherine  and  Eleventh  streets,  Philadelphia.  In  1856  he  organ- 
ized his  business  into  a  close  corporation  under  the  title 
of  Schomacker  Piano  Company.  With  his  ambition  satisfied, 
he  quit  the  field  of  activity  in  1872,  and  died  on  January  16, 
1875. 


John  Henrv  Schomacker 


282 


PIANOS  AND  THEIR  MAKERS 


His  son,  Henry  C.  Scho- 
macker,  born  in  Philadelphia 
in  May,  1840,  served  his  ap- 
prenticeship under  his  father 
and  spent  several  years  in 
Germany,  studying  under 
the  leading  masters.  The 
company,  under  the  able 
management  of  I.  B,  AVood- 
ford  as  president,  and  Henry 
C.  Schomacker  as  secretary, 
is  maintaining  the  glory  of 
the  old  firm,  producing  most 
excellent  pianos  of  the  high- 
est order. 

While  Lindeman  in  New 
York  and  Schomacker  in 
Philadelphia  earned  laurels 
for  the  German  school  of 
piano  making,  William  Knabe  was  busy  preparing  himself  for  his 
great  career  in  Baltimore.  Born  at  Kreutzberg,  Germany,  in  1803, 
he  received  a  superior  education,  intending  to  follow  a  learned  pro- 
fession. When  the  time  for  ultimate  decision  came,  William  pre- 
ferred, however,  to  learn  the  art  of  piano  making.  He  served  the 
customary  apprenticeship  and  acquired  further  experience  while 
working  for  various  masters  in  Germany.  Coming  to  Baltimore  in 
1833,  he  found  an  engagement  with  Henry  Hartje,  who  had  won 
quite  a  reputation  as  an  inventor.  Conservative  and  careful,  Knabe 
waited  until  he  had  mastered  the  English  language  and  had  be- 
come thoroughly  familiar  with  the  business  conditions  of  the  new 
country.     It  was,  therefore,  not  until  1839,  that  he  ventured  in 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


283 


business,  associating  liini- 
self  with  another  German 
piano  maker,  Henry  Gaehle, 
under  the  firm  name  of 
Knabe  &  Gaehk\  The  en- 
terprise was  moderately 
successful  and  the  associa- 
tion continued  until  isr)4, 
when  Gaehle  withdrew. 
From  that  time  on  Knabe 
was  able  to  demonstrate  his 
exceptional  ability  as  a 
piano  maker  and  business 
man  without  hindrance.  His 
pianos  were  second  to  none 
in  the  market,  and  he  han- 
dled the  commercial  end  of 
his    business     so     cleverly 

that  by  1860  his  firm  almost  controlled  the  entire  market 
of  the  southern  States.  The  Civil  War  temporarily  destroyed 
that  market,  and  the  firm  of  William  Ivnabe  &  Company  went 
through  a  trying  period  for  over  five  years.  Wearied  from  over- 
anxiety,  care  and  worry,  Knabe  passed  away  in  1864,  leaving  the 
care  of  the  great  business,  which  he  had  founded  and  built  up  to 
magnificent  proportions,  to  his  sons,  William  and  Ernest.  Both 
had  enjoyed  a  most  liberal  education  and  had  been  thoroughly 
trained  by  their  father  in  the  art  of  piano  making.  William,  being 
by  nature  of  a  quiet,  retiring  disposition,  took  upon  himself  the 
management  of  the  factories,  while  Ernest  assumed  without  any 
wavering  the  grave  responsibilities  as  head  of  the  house.  When 
Ernest  Knabe  took  the  reins  the  outlook  was  very  gloomy.  Xot 
only  was  their  main  market,  the  rich  southern  States,  entirely 


Ernest  Knabe 


284  PIANOS  AND  THEIR  MAKERS 

destroyed  by  the  Civil  War  then  raging,  but  their  customers  for 
the  same  reason  could  not  meet  their  obligations.  The  work  in 
the  big  factory,  with  its  hundreds  of  employees,  dragged  along  in 
an  uncertain  way  and  the  day  seemed  to  be  near  when  the  fac- 
tories would  have  to  be  temporarily  closed. 

Ernest  found  a  solution.  He  concluded  to  make  a  prolonged 
trip  through  the  northern  and  western  States  which  were  not  so 
seriously  affected  by  the  war,  determined  to  establish  agencies 
for  the  sale  of  his  pianos  in  this  new  territory.  Money  had  to 
be  provided  to  meet  the  weekly  payroll  during  his  absence.  He 
boldly  went  to  his  bank  and  asked  for  a  credit  of  $20,000  for  the 
term  of  six  months.  Considering  the  critical  times,  such  a  demand 
upon  a  bank  in  the  city  of  Baltimore  was  almost  preposterous, 
and  when  finally  the  banker  asked  Ernest  what  security  he  had  to 
offer  and  the  reply  came,  "Nothing  but  the  name  of  Knabe,"  the 
banker  shook  his  head  and  told  the  young  man  that  he  would  sub- 
mit the  x^roposition  to  his  board  of  directors.  They  decided  that 
under  existing  conditions  the  loan  could  not  be  made.  When 
delivering  this  ultimatum  to  young  Ernest,  the  banker  questioned 
him  as  to  what  he  could  or  would  do.  Knabe  answered  promptly, 
''  I  shall  go  down  to  my  factory  and  tell  my  employees  that  I  am 
compelled  to  discharge  them  all  because  your  bank  refused  a  loan 
to  which  I  am  entitled,"  then  took  his  hat  and  left  the  banker  to 
his  own  contemplations.  Before  he  reached  his  factory  office  a 
messenger  from  the  bank  had  arrived  there  with  a  letter  from 
the  president,  stating  that  the  account  of  Knabe  &>  Company  had 
been  credited  with  $20,000,  to  be  drawn  against  as  wanted. 

Ernest  did  not  go  back  to  the  bank,  but  packed  his  trunk  and 
went  on  his  journey.  Within  two  months  he  had  sold  enough 
I)ianos  and  opened  up  sufficient  connections  to  keep  his  factories 
busy  to  their  limit,  and  when  he  returned  home  he  called  on  his 
banker  to  thank  him  for  the  loan,  of  which  his  firm  had  not  been 


MEN  WHO  HAVE  MADE  PIANO  HISTORY         285 

obliged  to  use  a  single  dollar.  Ernest  Knabe  knew  that  just  at 
that  time  the  banks  of  Baltimore  could  not  atTord  to  have  the 
doors  of  the  city's  greatest  industrial  establishment  closed  and 
hundreds  of  men  thrown  out  of  employment,  for  lack  of  funds, 
and  he  won  out  against  the  timid  and  shortsighted  banker. 

An  era  of  great  activity  now  commenced  for  the  firm  of  Knabe 
&  Company.  A  branch  house  was  opened  in  New  York,  and  later 
one  in  Washington.  Ernest  Knabe  designed  new  scales  for  con- 
cert grands  and  upright  pianos.  Additional  factories  were  built 
and  equipped  with  the  best  of  modern  machinery,  in  order  to  pro- 
duce pianos  in  keeping  with  the  reputation  of  the  firm  as  leaders 
in  the  industry.  Wherever  the  Knabe  pianos  have  been  exhibited 
they  were  invariably  awarded  high  prizes  for  superior  construc- 
tion and  workmanship,  notably  so  at  the  great  Centennial  Expo- 
sition in  Philadelphia  in  1876,  where  their  large  concert-grand 
piano  was  greatly  admired.  Leading  virtuosos  like  D  'Albert,  Saint- 
Saens  and  many  others  used  the  Knabe  grand  pianos  in  their  con- 
certs and  were  enthusiastic  in  their  praise  of  the  Knabe  tone 
quality. 

A  princely  entertainer,  Ernest  Knabe  was  an  enthusiastic  lover 
of  music.  He  would  often  take  the  noon  train  from  Baltimore  to 
New  York,  consult  with  his  New  York  manager  while  eating  din- 
ner, go  to  the  opera  to  hear  Sembrich,  Lehmann  or  Niemann  sing, 
or  attend  a  Rosenthal  or  Joseffy  concert,  return  by  midnight  train 
to  Baltimore  and  appear  the  following  morning  bright  and  early 
at  the  factory  or  city  warerooms  to  take  up  the  every-day  routine 
of  work.  He  was  an  indefatigable  worker  and  seemed  never  to 
tire.  Of  a  most  genial  disposition,  warm-hearted,  helpful,  he  was 
adored  by  his  workmen  and  beloved  by  all  who  knew  him. 

In  the  midst  of  the  greatest  developments  misfortune  came 
upon  the  house.  William  Knabe  died  suddenly  in  January,  1889, 
at  the  early  age  of  -18.     This  sad  event  doubled  the  burdens  of 


286  PIANOS  AXD  THEIR  MAKERS 

Ernest  and  lie  succumbed  to  the  inevitable  result  of  over-exertion 
on  April  16,  1894.  Ernest  Knabe  bad  ever  been  one  of  the  strong 
pillars  of  the  piano  industry,  on  intimate  terms  with  his  competi- 
tors, enjoying  the  close  friendship  of  William  Steinway,  Albert 
Weber  and  other  leaders.  He  left  a  gap  which  could  not  easily 
be  filled.  The  great  business  was  turned  into  a  corporation  which 
finally  joined  the  American  Piano  Company,  under  whose  care 
the  traditions  of  the  house  are  reverently  safeguarded. 

Among  the  historic  Boston  firms,  the  Hallet  &  Davis  Piano 
Company  can  trace  its  origin  to  the  year  1835,  when  Brown  & 
Hallet  started  in  business.  Brown  was  a  graduate  of  the  Chick- 
ering  factory  and  obtained  several  patents  for  improvements.  He 
retired  from  the  firm  in  18-1:3,  and  his  place  was  taken  by  George 
H.  Davis,  the  firm  changing  to  Hallet,  Davis  &  Company,  under 
which  title  it  continued  with  more  or  less  success.  After  the  death 
of  George  H.  Davis  on  December  1,  1879,  the  business  was  incor- 
porated. Under  the  management  of  E.  N.  Kimball  as  president^ 
C.  C.  Conway,  treasurer,  and  E.  E.  Conway  as  secretary,  the  con- 
cern has  recovered  its  old-time  prestige  and  is  counted  among  the 
most  progressive  of  the  present  day. 

During  the  decade  from  1830  to  1840  a  coterie  of  piano  makers 
lived  at  Albany,  whose  influence  upon  the  piano  industry  of 
America  has  been  of  a  lasting  character.  John  Osborn  came  from 
Boston  in  1829  and  made  pianos  for  Meacham  &  Company,  dealers 
in  musical  instruments.  F.  P.  Burns  studied  under  Osborn  in 
Meacham 's  shop,  which  probably  was  the  first  piano  factory  west 
of  New  York  City.  Henry  Hazelton  came  from  New  York  to  work 
for  Boardman  &  Gray.  James  H.  Grovesteen,  founder  of  Grove- 
steen.  Fuller  &  Company  of  New  York,  came  to  Albany  in  1839 
and  started  to  make  ])ianos  in  1840.  A.  C.  James,  later  of  James 
&  Holmstrom,  New  York,  learned  piano  making  in  Grovesteen 's 
shop  and,  after  working  for  Boardman  &  Gray,  became  a  member 


MEN  WHO  HAVE  MADE  PIxVXO  HISTORY 


287 


of  the  firm  of  Marshall, 
James  &  Traver,  later  known 
as  Marshall  &  AVendell. 
]\Iyron  A.  Decker  was  also 
one  of  the  Albany  i)ioneers 
with  George  Gomph,  P. 
Keed  and  others.  F.  Frick- 
inger  made  pianos  in  1837, 
hnt  soon  after  started  action 
making  as  a  specialty.  His 
business  is  continued  by 
Grubb  &  Kosegarten  Broth- 
ers at  Nassau,  N.  Y. 

Francis  Putnam  Burns, 
born  at  Galway,  Xew  York, 
on  February  6,  1807,  learned 
cabinetmaking  and  studied 
piano     making     under     the 

genial  John  Osborn,  In  1835  he  commenced  business  on  his 
own  account.  Of  an  artistic  temperament  and  an  excellent  me- 
chanic, he  would  never  permit  piecework  in  his  shop,  impressing 
his  workmen  with  the  idea  that  a  piano  is  a  work  of  art,  re(iuiring 
the  most  painstaking  efiforts,  without  regard  to  time  consumed  in 
its  construction.  AVhile  producing  most  elegant  and  durable 
l»ianos,  Burns  did  not  aecumnlate  wealth,  and  when  the  Civil  War 
prostrated  business  he  could  not  stand  tlie  strain.  His  son  Edward 
M.  Burns,  who  was  serving  as  a  commissioned  officer  in  the  army, 
coming  home  disabled  for  further  activity  in  the  field,  had  to  as- 
sume the  management  of  the  business.  Although  the  United  States 
Government  retained  him  in  military  service  for  18  months 
after    peace    was    declared    and    desired    his    further    service 


Francis  Putnam  Burns 


288 


PIANOS  AND  THEIR  MAKERS 


Henrv  Hazelton 


in  the  army,  young  Burns 
felt  that  filial  duty  de- 
manded his  devotion  to  his 
father's  business.  He  picked 
up  the  remnants  of  the  once 
flourishing  business,  injected 
new  life  and  not  only  suc- 
ceeded in  maintaining  the 
high  reputation  of  the  pi- 
anos, but  had  the  great  satis- 
faction of  squaring  all  the 
old  obligations  in  a  most 
honorable  manner.  It  was  a 
loss  to  the  piano  industry  of 
Albany  when  Edward  M. 
Burns  retired  in  1869  to  seek 
more  remunerative  activity 
in  another  field. 


A  man  who  for  over  60  years  can  enjoy  the  respect  and  friend- 
ship of  his  competitors  in  business  must  be  a  strong  character,  with 
a  lovable  disposition.  Such  was  Henry  Hazelton,  born  in  New 
York  City  in  1816.  He  served  a  seven  years'  apprenticeship  with 
Dubois  &  Stodart,  being  released  in  1831.  Soon  thereafter  he 
joined  the  Albany  colony,  and  in  18-1:0  started  the  firm  of  Hazelton, 
Talbot  &  Lyon.  Not  fulfilling  his  exx)ectations  at  Albany,  Hazelton 
returned  to  New  York  and  joined  his  brother  Frederick,  under  the 
firm  name  of  F.  &  H.  Hazelton,  in  1850.  Later  on  a  younger 
brother,  John,  was  admitted  to  partnership  and  the  firm  name 
changed  to  Hazelton  Brothers.  All  three  brothers  were  artisans 
of  high  order,  who  eschewed  commercial  tactics,  depending  for 
ultimate  success  entirely  upon  the  high  quality  of  their  product, 


MEN  AVHO  HAVE  MADE  PIAXO  HISTORY 


289 


and  to  this  date  tlic  finu  lias 
a  strong  lio!d  upon  Xew 
York's  Knickerbocker  aris- 
tocracy as  a  clientele,  in 
whose  circles  grandmother's 
piano  bears  the  name  of 
Hazelton.  After  the  death 
of  the  founders,  the  business 
came  under  sole  control  of 
Samuel  Hazelton,  who  had 
enjoyed  a  thorough  training 
with  his  uncles  and  was  made 
a  member  of  the  firm  in  1881, 
He  is  ably  assisted  by  his 
son  Halsey  in  maintaining 
the  traditions  of  the  re- 
spected firm. 

Toward  the  close  of  the 
18th  century  a  Vienna  piano  maker  in  his  wandering  arrived 
at  Naples,  Italy.  Somehow  attracted  by  the  place,  he  made 
it  his  home  and  began  to  make  pianos,  which  found  favor  with 
the  court,  and  young  Fischer  was  appointed  "  Piano  maker  to 
King  Ferdinand  I,  of  Naples."  He  taught  his  art  to  his  son. 
who  afterward  studied  for  a  number  of  years  with  Vienna  mas- 
ters, and  upon  his  return  to  Xaples  continued  the  father's 
business.  His  two  sous,  John  U.  and  Charles  S.  Fischer,  fol- 
lowed in  the  footsteps  of  father  and  grandfather,  becoming 
expert  piano  makers.  The  inl)orn  "  wanderlust  "  of  the  Fischers 
landed  these  two  young  men  in  Xew  York  City  in  1839.  Taking  at 
once  employment  witli  William  Xunns,  they  became  his  partners 
soon  thereafter  under  the  firm  name  of  X^'unns  &  Fischer.    X^unns 


Charles  S.  Fischer 


290 


PIANOS  AND  THEIR  MAKERS 


retired  in  1840,  and  the  firm 
was  changed  to  J.  &  C. 
Fischer.  Building  a  reliable 
})iauo,  they  soon  accumulated 
great  wealth,  and  in  1873 
John  U.  Fischer  retired  with 
a  competency,  to  spend  the 
rest  of  his  days  in  his  home- 
land, Italy.  Charles  S.  then 
admitted  his  four  sons,  who 
had  been  thoroughl}-  trained 
in  all  branches  of  the  busi- 
ness, to  partnership.  The 
vigorous  activity  of  the 
young  men,  under  the  wise 
guidance  of  their  father, 
brought  them  rapidly  to  the 
front  as  great  producers,  in- 
creasing their  yearly  output  to  5,000  pianos,  at  the  same  time 
studiously  imi)roving  the  ({uality.  In  1907  the  firm  was  changed  to 
a  corporation. 

Hugh  Hardman,  who  was  born  at  Liverpool,  England,  in 
1815,  came  to  the  United  States  and  began  to  make  pianos  in 
New  York  City  in  1840.  His  son  John  was  admitted  to  part- 
nership about  1874.  This  firm  was  among  the  first  to  manufacture 
good  commercial  upright  pianos,  and  met  with  distinctive  success. 
In  1880  Leopold  Peck  bought  an  interest  in  the  firm,  the  name 
being  changed  to  Hardman,  Peck  &  Company.  Under  Peck's 
able  management  the  firm  has  risen  to  a  recognized  position  among 
the  makers  of  high-grade  pianos,  their  instruments  ranking  among 
the  best  in  the  market. 


Frederick  P.  Stieff 


MEN  AVHO  HAVE  MADE  PIAXO  HISTORY 


291 


^•-5i-V*i 


To  change  from  teaching  g, 
music  and  languages  to  deal- 
ing in  pianos,  and  finally  to 
become  the  founder  of  one  of 
the  largest  and  most  re- 
spected piano  manufacturing 
firms,  was  the  career  of 
Charles  M.  Stieff.  Born  in 
"Wurtemburg  on  July  19, 
1805,  StietT  was  educated  at 
Stuttgart.  In  1831  he  emi- 
grated to  America  and  set- 
tled at  Baltimore,  where  he 
took  the  chair  in  Haspert's 
school  as  professor  of  lan- 
guages and  also  acted  as 
leader  of  a  church  choir.  In 
1842   he   imported   his   first 

pianos  from  Germany,  and  opened  regular  i)iauo  warerooms  on 
Liberty  Street  in  1813.  Observing  the  success  of  the  various  i)iano 
manufacturers  in  Baltimore,  Stieff  undertook  an  extensive  trip  to 
Europe  in  1852,  studying  the  methods  of  the  best  piano  manufac- 
turers there.  Ui^on  his  return  he  admitted  his  sons  into  partner- 
ship and  started  the  manufacture  of  the  "  Stieff  "  piano,  intrust- 
ing the  management  of  the  factory  to  Jacob  Gross,  an  expert  piano 
maker  of  the  old  school. 

Born  in  AVurtemburg  on  July  26,  1819,  Gross  learned  his  trade 
in  Stuttgart  and  afterward  worked  in  some  of  the  leading  fac- 
tories of  Germany,  Switzerland,  Spain  and  Paris.  Coming  to 
America  in  1848,  he  familiarized  himself  with  the  methods  pre- 
vailing here  and  joined  his  brother-in-law,  Stieff,  in  1856.  It  was 
an  excellent  combination,  the  professional  musician  and  business- 


Jacob  Gross 


292 


PIANOS  AND  THEIR  MAKERS 


Christian  Kurtzmanii 


man,  Stieff,  supported  by  tlie 
artistic  piano  maker  and  fac- 
tory exj^ert,  Gross.  The 
product  of  the  firm  was  at 
once  accepted  as  of  superior 
merit  and  received  distin- 
guished awards  wherever  ex- 
hibited. The  founder  of  the 
firm  having  passed  to  the  un- 
known beyond,  the  business 
is  carried  on  most  success- 
fully by  his  sous,  Charles 
and  Frederick  P.  Stietf,  the 
technical  management  of  the 
factories  being  in  the  hands 
of  Charles  J.  Gross,  who  was 
educated  by  his  father,  the 
late  Jacob  Gross.    It  was  re- 


markable that  the  great  fire  which  destroyed  nearly  the  entire  busi- 
ness portion  of  the  city  of  Baltimore  in  190-1-  should  stop  short  in  its 
northward  flight  on  the  wall  of  the  Stieff  building,  on  North  Lib- 
erty Street,  just  as  if  it  had  had  respect  for  this  landmark  where  the 
Stieffs  had  sold  pianos  for  63  years.  The  firm  of  Charles  M.  Stietf 
distributes  its  products  almost  entirely  through  its  own  stores, 
which  are  to  be  found  in  every  prominent  city  of  the  southern 
States,  as  well  as  at  Boston  and  elsewhere. 

Following  the  chronological  order,  we  find  that  Christian 
Kurtzmann  established  a  piano  factory  in  Butfalo  in  1848.  After 
his  death  in  1886,  the  business  was  taken  over  by  a  corpo- 
ration. 

William  P.  Emerson,  who  started  in  Boston  in  1849,  had  perhaps 
more  business  acumen  than  mechanical  talent  and  artistic  inclina- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


293 


tions.  He  started  to  make  a 
low-priced  instrument  and 
built  up  a  very  large  and 
profitable  business  within  a 
few  years.  In  1854  he  en- 
gaged C.  C.  Briggs,  an  ex- 
l)ert  piano  maker  of  stand- 
ing, to  improve  the  piano, 
which  was  accomplished 
with  such  success  that  a 
rei)utation  for  sui)erior  (pial- 
ity  was  soon  established 
and  the  name  of  Emerson 
became  a  valuable  trade- 
mark. Emerson  died  in 
1871,  and  the  business  came 
into  possession  of  AVilliam 
Moore,  who  sold  his  interest 

in  1879  to  P.  H.  Powers,  0.  A.  Kimball  and  J.  Gramer.  They 
organized  the  Emerson  Piano  Company,  with  Patrick  H.  Powers 
as  president.  Under  his  able  management  the  business  grew  to 
commanding  proportions.  The  product  was  continually  im- 
l)roved  to  maintain  its  position  as  a  high-class  instrument,  and 
the  company  enjoyed  an  enviable  reputation  foi-  integrity  and 
reliability. 

P.  H.  Powers  retired  from  active  management  in  1910,  at  the 
age  of  8-1-,  after  a  most  distinguished  career  as  a  business  man, 
covering  a  period  of  60  years.  He  is  succee^led  in  the  presidency 
by  Edward  S.  Payson,  who  assisted  Powers  for  many  years  as 
acting  secretary  of  the  company. 

In  the  old  town  of  Milton,  where  Crehore  built  his  first  piano, 
James  Whiting  Vose  was  born,  on  October  21,  1818.    Learning  the 


294 


PIAXOS  AXD  THEIR  MAKERS 


cabinetmaker's  trade,  he 
soon  became  a  piano  maker, 
getting  his  experience  in 
various  Boston  factories. 
In  1851  he  made  his  first 
piano,  and  laid  the  founda- 
tion for  a  business  which  is 
counted  among  the  leaders  of 
the  American  piano  indus- 
try. Educating  his  three 
sons  in  all  branches  of  the 
business,  he  admitted  them 
to  partnership  and  changed 
tlie  name  to  A^ose  &  Sons. 
In  1889  the  concern  was  in- 
/l^^/;^./^^.  corporated,  the  stock  being 
owned  by  the  Vose  family. 
James  AV.  Vose  served  as 
first  president  of  the  Vose  &  Sons'  Piano  Company  for  a  number  of 
years.  After  his  retirement  his  eldest  son,  Willard  A.  Vose,  suc- 
ceeded him  as  president  and  manager,  with  marked  ability,  main- 
taining and  improving  the  distinguished  standing  of  the  Vose 
piano. 

One  of  the  most  interesting  characters  in  the  history  of  Ameri- 
can piano  makers  is  Napoleon  J.  Haines.  Born  in  London  in  1824, 
he  came  to  New  York  when  eight  years  of  age.  He  made  the  trip 
across  the  Atlantic  alone  with  his  younger  brother  Francis.  His 
father,  who  had  preceded  the  boys  to  New  York,  had  paid  the 
ship's  steward  thirty  dollars  to  assure  good  meals  for  the  young- 
sters. Napoleon,  aware  of  that  fact,  objected  to  the  poor  coffee 
and  "  hard  tack  "  with  which  the  steward  regaled  the  boys,  throw- 
ing the  stuff  overboard  aii:l  demjinding  "  something  fit  to  eat." 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


295 


He  caused  such  a  disturb- 
ance that  the  captain  was 
called,  who  promptly  sided 
with  the  rebellious  boy  and 
admonished  the  steward  to 
do  his  duty  henceforth.  It 
is  said  that  young  Haines 
after  his  arrival  in  Xew 
York,  not  from  necessity,  but 
from  his  desire  to  make 
headway,  earned  money  as  a 
bootblack  after  school  hours. 
"Whether  that  is  true  or  not, 
young  Napoleon  certainly 
always  demonstrated  a  rest- 
less disposition  and  a  desire 
to  advance.  At  the  age  of 
fifteen  he  apprenticed  himself  and  brother  to  the  New  York 
Piano  Manufacturing  Company,  learning  all  branches  of  the  art. 
In  1851  he  started  in  business  with  his  brother  under  the  firm 
name  of  Haines  Brothers.  Beginning  with  an  output  of  two  pianos 
per  month,  their  business  soon  assumed  large  proportions,  so  that 
the  erection  of  a  factory,  with  a  capacity  of  20  ])ianos  ])er  week, 
became  necessary  in  1856. 

Napoleon  J.  Haines  was  a  thorough  ])iano  maker,  whose  name 
is  also  on  record  as  an  inventor  in  the  United  States  Patent  Office, 
but,  besides  that,  he  was  a  born  financier  and  shrewd  business 
man.  One  of  the  founders  of  the  Union  Dime  Savings  Bank  of 
New  York,  he  served  as  vice-president  and  i^resident  of  that  great 
institution  for  21  years.  Napoleon  J.  Haines  died  April  19,  1900. 
The  business  has  been  merged  with  that  of  the  American  Piano 


James  Wliitiiit;  Vose 


296 


PIANOS  AND  THEIR  MAKERS 


Company,  under  whose  aus- 
pices the  Haines  Brothers 
piano  is  produced  in  larger 
quantities  than  ever. 

Real  genius  always  leaves 
an  indelible  mark  in  its 
sphere  of  activity,  and  its 
influence  is  as  lasting  as  it 
is  permeating  at  the  time 
of  its  birth.  To  observe  a 
man  rising  from  the  lowest 
rung  of  the  ladder  to  the 
height  of  a  most  promi- 
nent manufacturer,  educat- 
ing himself  meanwhile  to 
become  a  musician  of  ac- 
knowledged talent  and  ver- 
satility, handling  comi)lex  financial  problems  with  masterly 
daring  and  withal  acquiring  a  position  of  social  influ- 
ence, requires  a  combination  of  talents,  an  exercise  of  will- 
power and  self-denial  seldom  found.  Albert  AVeber,  born  in 
Bavaria  July  8,  1828,  landed  in  Xew  York  when  16  years  of  age. 
Endowed  with  a  liberal  education,  he  had  a  good  knowledge  of 
music,  playing  the  organ  efficiently.  Attracted  to  the  art  of  piano 
making,  he  went  through  a  regular  apprenticeship  with  Master 
Ilolden  of  Xew  York,  and  later  worked  in  the  celebrated  shop  of 
Van  Winkle.  To  pay  his  board,  young  Weber  gave  music  lessons 
evenings,  and  played  the  organ  at  church  on  Sundays.  When  23 
years  of  age  he  started  in  business  with  a  very  small  capital.  Fire 
destroyed  his  shop  during  the  third  year  of  his  existence  as  a 
piano  manufacturer.     Xothing  daunted,  he  rented  much  larger 


Napoleon  J.  Haines 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


29; 


Albert  \Veber 


quarters  and  within  a  short 
time  acquired  a  leading  posi- 
tion among  the  piano  firms 
of  Xew  York  City.  His  en- 
ergy and  ambition  knew  no 
bounds.  In  1869  he  oj^ened 
extensive  warerooms  at 
Fifth  Avenue  and  Sixteenth 
Street,  a  move  which  aston- 
ished his  competitors  by  its 
very  boldness.  Weber  had 
invaded  the  abode  of  New 
York  swelldom,  with  charac- 
teristic foresight,  judging 
the  future  importance  of 
this  thoroughfare  as  a  cen- 
ter of  fashionable  establishments.  With  this  move  his  aggressive 
campaign  for  supremacy  in  the  piano  world  commenced. 

Although  not  given  to  inventing  or  creating  anything  new  in 
piano  construction,  Weber  was  such  a  thorough  piano  maker,  and 
perfect  performer  on  the  piano,  that  he  knew  how  to  utilize  the 
best-proven  methods  of  construction.  He  would  engage  at  any 
cost  the  best  workmen,  the  best  talent  to  be  found  among  i)iano 
makers,  neither  would  he  spare  any  expense  or  reckon  the  cost 
of  any  real  improvement  in  the  tone  or  general  quality  of  his 
pianos.  He  inspired  his  men  to  take  pride  in  their  work.  The  result 
was  that  he  produced  pianos  which  were  acknowledged  second  to 
none,  and  preferred  by  many  leading  virtuosos,  especially  by 
oj^era  singers,  for  their  sympathetic  musical  tone. 

Because  of  his  acute  and  musically  trained  hearing  he  succeeded 
in  producing  in  his  pianos,  through  his  expert  workmen,  what  he 


298  PIANOS  AXD  THEIR  MAKERS 

proudly  called  the  "  Weber  tone."  To  listen  to  his  playing  for  a 
prospective  customer  was  a  treat  indeed,  and  seldom  would  an 
intending  buyer  leave  his  warerooms  without  having  secured  a 
piano.  The  man's  enthusiasm,  the  real  love  for  his  piano  was 
so  intense,  so  genuine  that  he  impressed  the  same  on  every  person 
who  would  listen  to  his  i)laying.  Well  read,  a  keen  observer  of  men 
and  things,  Weber  was  a  most  interesting  entertainer.  His  ready 
wit  became  lu'overbial  and  oftentimes  served  to  clear  unpleasant 
situations.  For  example,  when  during  the  strike  of  the  journey- 
men for  higher  wages,  shorter  hours,  etc.,  a  committee  of  the  work- 
men met  with  the  assembled  manufacturers,  submitting  their  most 
unreasonable  demands,  the  hitler  were  dumbfounded  by  the  bold- 
ness of  the  men.  Weber  broke  the  silence,  complimented  the  men, 
arguing  that  it  was  their  })rivilege  to  ask  for  all  that  they  might 
want,  but  in  his  opinion  they  had  not  asked  enough — tliey  had  for- 
gotten to  ask  for  free  Saturday  afternoons  with  full  pay,  so  that 
they  could  play  tenpins,  the  bosses  to  pay  for  the  beer  and  set  up 
the  pins  for  the  men.  With  this  remark  he  took  his  hat  and  left 
the  conference.  The  strike  was  called  off.  With  his  timelj"  sar- 
casm AVeber  had  shown  the  men  the  ridiculousness  of  their  de- 
mands and  had  turned  the  embarrassing  conference  into  a  merry 
laughter. 

Many  pertinent  anecdotes  could  be  cited  to  illustrate  the  quick- 
working  mind  of  this  remarkable  man.  He  had  one  serious  short- 
coming, however,  which  finally  caused  his  untimely  end.  Cease- 
lessly planning  to  extend  his  business  and  enlarge  his  personal 
influence,  Weber  did  not  surround  himself  with  sufficient  competent 
assistants  who  could  relieve  him  from  dreary  detail  work,  and  con- 
sequently the  management  of  his  great  factory,  of  the  wholesale 
and  retail  departments,  all  of  the  financial  affairs — in  short,  every 
detail  of  his  great  business— rested  u]3on  his  shoulders.    Working 


MEX  WHO  HAVE  MADE  PIANO  HISTORY         299 

from  morning  until  evening  at  his  business,  he  would  attend  opera, 
theaters  and  clubs  at  night.  Being  of  a  decidedly  Bohemian  tem- 
perament, he  enjoyed  the  gay  life  of  New  York  among  brilliant 
men  and  women,  but  the  everlasting  strain  was  too  much,  even  for 
this  nervy  man,  and  lie  succumbed,  at  the  age  of  50,  on  June  25, 
1879,  to  the  overtaxing  of  his  brain  and  body. 

The  great  business  wliidi  lie  has  founded,  the  great  name  which 
he  made  for  his  piano,  are  l)ecomingly  perpetuated  by  the  Weber 
Piano  Company,  a  corporation  affiliated  with  the  Aeolian  Company 
of  New  York.  The  fame  of  the  Weber  piano  has  extended  to  all 
the  art  centers  of  the  globe  to  such  an  extent  that  the  erection  of 
a  mammoth  factory  in  London  has  become  a  necessity,  in  order 
to  supply  the  ever-growing  foreign  trade.  The  name  of  Albert 
Weber  will  live,  as  long  as  pianos  are  built  in  America,  as 
one  of  the  great  leaders  who  believed  in  the  artistic  mission  of 
the  instrument  and  impressed  this  belief  upon  the  mind  of  the 
public. 

History  teaches  that  hardships,  adverse  conditions  and  trying 
circumstances  are  the  making  of  great  men.  Henry  Engelhardt 
Steinweg's  career  is  a  confirmation  of  this  doctrine.  Boi-n  at 
Wolfshagen,  Germany,  as  the  twelfth  child  of  a  strong  mother 
and  a  respectable  father  on  February  5, 1797,  he  had  to  pass  during 
his  youth  through  all  the  miseries  and  privations  brought  upon  a 
people  by  protracted  warfare.  Napoleon's  hordes  devastated  Ger- 
many, burned  up  the  Steinweg  home  and  killed  several  of  his 
'  brothers  in  battle.  To  fill  his  cup  of  misery  he  finally  lost  his 
father  and  remaining  brothers  in  an  accident,  from  which  he  alone 
escaped  as  by  a  miracle,  and  found  himself  an  orphan  at  the  age 
of  15,  without  home  or  shelter. 

At  18  years  of  age  he  was  drafted  for  the  army  and  took  ]iart 
in  the  battle  of  Waterloo.  Returning  from  the  field  of  battle, 
he  found  the  soldier's  life  in  the  barracks  verv  drearv,  to  coun- 


300 


PIANOS  AND  THEIR  MAKERS 


teract  which  he  managed  to 
build  a  zither,  upon  which  he 
would  play  the  patriotic 
songs  of  the  time  accom- 
panied by  the  voices  of  his 
soldier  comrades.  Having 
never  handled  tools  nor  re- 
ceived even  elementary  in- 
struction in  music,  his  ac- 
complishment in  making  and 
playing  the  zither  clearly 
pointed  to  the  road  which  he 
was  to  travel  to  achieve 
fame  and  wealth. 

Having  served  his  time 
in  the  army,  he  sought  em- 
ployment  with  a  cabinet- 
maker, but  being  then  21 
years  of  age,  and  engaged  to  a  lovely  girl,  he  did  not  cherish 
the  idea  of  serving  a  five-year  apprenticeship  as  the  guild 
of  cabinetmakers  demanded.  He  wanted  to  learn  the  use  of 
tools  to  build  musical  instruments,  and  we  find  him,  there- 
fore, soon  in  the  shop  of  an  organ  builder  at  Seesen,  where 
he  also  filled  the  place  of  organist  in  the  village  church.  In  1825 
he  married  the  woman  of  his  heart,  and  his  wedding  present  was 
the  first  piano  built  by  Steinweg's  own  hands.  It  was  a  fine 
instrument,  which  soon  found  a  purchaser.  Constructing  pianos, 
earning  his  daily  bread  by  repairing  organs  and  all  kinds  of 
musical  instruments,  Steinweg  prospered,  and  in  1839  exhibited  at 
the  fair  of  Brunswick  one  grand  and  two  square  pianos  of  his 
own  make.  The  great  composer,  Albert  Methfessel,  played  on 
these  instruments  and,  as  chairman  of  the  jury,  recommended  that 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  301 

the  liigliest  prize,  a  gold  medal,  .should  be  awarded  to  Steinweg  for 
his  superior  instruments.  It  is  said  that  the  Duke  of  Brunswick 
bought  the  grand  piano,  paying  therefor  the  large  i^rice  of  3,000 
marks. 

Steinweg 's  reputation  as  a  master  i)iano  builder  was  now  estab- 
lished and  he  had  to  employ  workmen  to  fill  the  orders  which  he 
received.  His  sons,  Theodore,  Charles  and  Henry,  joined  him  in 
business  as  they  grew  to  maturity  and  the  i)rospects  for  the  future 
looked  very  bright,  when  suddenly  adversity  came  again  through 
the  ])olitical  ui)heaval  and  revolution  of  1848  and  1849,  which 
paralyzed  business  all  over  Germany.  The  second  son,  Charles, 
had  been  during  this  excitement  rather  active  in  the  ranks  of  the 
progressives,  or  revolutionists,  and  found  himself  compelled  to  flee 
as  soon  as  the  jDeople's  cause  was  lost.  He  escaped  to  Switzerland 
and  went  by  way  of  Paris  and  London  to  New  York,  where  he 
landed  in  May,  1849. 

Charles  sent  such  glowing  reports  regarding  the  possibilities 
for  the  family  in  the  new  world  as  compared  with  their  homeland, 
and  urged  their  coming  to  America  so  strongly  and  persistently 
that  the  entire  Steinweg  family,  except  Theodore,  engaged  passage 
on  the  steamer  Helene  Slomaii  from  Hamburg,  which  landed  them 
at  New  York  on  June  9,  1851.  Instead  of  venturing  into  business 
at  once,  Henry  E.  Steinweg  wisely  chose  first  to  gain  practical 
knowledge  of  the  language  and  ))usiness  methods  of  the  new  world. 
He  and  his  sons  accepted  employment  in  different  piano  factories. 
For  two  years  the  three  men  gathered  experience,  and  on  March  5, 
1853,  the  firm  of  Steinway  &  Sons  started  on  its  brilliant  career. 
The  very  first  step  in  that  direction,  the  changing  of  the  name  from 
Steinweg  to  Steinway,  showed  not  only  the  business  sagacity  of 
Henry  E.  Steinway,  but  also  the  strong  faith  which  he  had  in  his 
ability  to  build  a  better  piano  than  known  at  that  time.    Hence 


302  PIANOS  AND  THEIR  MAKERS 

he  wanted  a  distinct  trade-mark,  which  could  not  be  imitated,  even 
if  his  pianos  should  be. 

From  the  beginning  the  firm  of  Steinway  &  Sons  was  a  happy- 
combination  of  various  talents,  making  success  imjDerative.  Henry 
E,  Steinway  was  an  experienced  piano  maker  and  careful  busi- 
ness man.  His  son  Charles  managed  the  factory,  for  which  he  was 
eminently  fitted.  A  fine  mechanic,  he  possessed  a  highly  devel- 
oped sense  for  exactness  and  systematic  organization,  while  the 
younger  son  Henry  was  a  genius  as  an  inventor,  a  good  musician 
and  a  splendid  mixer  with  artists,  professionals  and  literary  men. 

At  the  Metropolitan  Fair,  held  at  Washington,  D.  C,  March, 
1854,  Steinway  &  Sons  exhibited  a  square  piano  and  received  a 
prize  medal,  but  their  great  triumph  came  at  the  great  fair  of 
the  American  Institute  in  New  York  in  1855,  where  their  over- 
strung square  piano  with  full  iron  frame  created  a  sensalion  in 
the  i)iano  world.  As  a  result  their  business  expanded  so  rapidly 
that  in  1859  the  erection  of  that  mammoth  factory  on  Fifty-third 
Street  and  Fourth  Avenue,  New  York,  became  a  necessity.  Henry 
E.  Steinway  planned  the  factory  and  superintended  its  building. 
It  is  said  that  he  would  not  permit  a  beam  or  rafter  in  the  entire 
structure  which  contained  a  single  knot  or  showed  the  least  im- 
perfection. The  precision  of  the  master  builder  dominated  in  what- 
ever he  did ! 

Gradually  he  permitted  his  sons  to  assume  the  responsibilities 
of  managing  the  affairs  of  the  great  business.  Successful  beyond 
his  fondest  dreams  in  his  enterprise,  Henry  E.  Steinway  had  to 
bear  the  deep  sorrow  of  losing  his  faithful  co-workers  and  beloved 
sons,  Charles  and  Henry,  in  the  prime  of  their  manhood.  This 
great  bereavement,  together  with  the  advancing  years,  began  to 
bear  upon  that  strong  character,  who  had  fought  the  battle  of  life 
so  valiantly,  and,  after  ]ilanning  and  superintending  the  erection 
of  Steinway  Hall  in  1866,  he  retired  more  and  more  from  active 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


303 


participation,  going  to  his 
rest  on  February  7,  1871,  at 
the  age  of  74.  Beloved  by 
all  who  knew  him,  respected 
l)y  the  coinmunity  and  fa- 
mous as  an  inventor  and 
manufacturer  in  the  entire 
civilized  world,  a  self-made 
man  who  had  to  wring  suc- 
cess from  fate's  unwilling 
hand  under  most  trying  con- 
ditions, Henry  Engelhardt 
Steinway's  name  will  ever 
be  revered. 

His  eldest  son,  C.F.Theo- 
dore Steinway,  was  one  of 
those  who  show  great  bril- 
liancy in  their  youth,  but 
whose  genius  then  lies  dormant  for  a  number  of  years,  to  break  out 
with  irresistible  force  after  middle  life,  astonishing  the  world  with 
their  accomplishments.  At  the  age  of  1-1-  Theodore  was  an  accom- 
plished pianist,  so  much  so  that  he  was  given  the  task  of  showing  off 
his  father's  pianos  at  the  Brunswick  Fair  in  1839.  Enjoying  the 
advantages  offered  by  the  Jacobsohn  College  at  Seesen,  a  celebrated 
institute  of  learning,  he  studied  acoustics  under  Dr.  Ginsberg,  who 
took  great  interest  in  the  brilliant  boy,  in  return  for  which  Theodore 
built  the  models  needed  by  Dr.  Ginsberg  for  demonstration  in  his 
lectures  on  acoustics.  This  intimate  relation  to  the  scientist  in  his 
youth  ])revented  Theodore  from  ever  becoming  a  mere  em])iric. 
It  was  the  cause  of  the  restless  search  he  later  so  forcibly  demon- 
strated for  the  scientific  laws  underlying  the  construction  of  the 
pianoforte.    After  going  through  college,  he  went  to  work  at  the 


304  PIANOS  AXD  THEIE  MAKERS 

bench  in  his  father's  shop,  and,  when  the  family  sailed  for  Xew 
York  in  1851,  he  was  charged  with  winding  up  the  affairs  of  busi- 
ness and  following  the  family.  Fate  decreed  otherwise.  He  met 
the  only  maid  whom  he  would  marry,  stayed  at  Seesen  and  con- 
tinued the  business  founded  by  his  father.  Success  crowned  his 
efforts,  and  seeking  a  larger  field  he  removed  his  piano  factory 
to  Brunswick  in  1859,  where  he  built  up  a  substantial  business. 
However,  when  his  brothers,  Charles  and  Henry,  died,  filial  duty 
demanded  that  he  should  assist  his  father  in  Xew  York.  He  sold 
his  business  to  three  of  his  most  able  workmen  and  became  a  part- 
ner in  the  firm  of  Steinway  &  Sons,  Xew  York.  Theodore  took 
charge  of  the  construction  department,  and  commenced  those  revo- 
lutionary improvements  which  have  made  the  Steinway  a  synonym 
of  perfection  in  piano  building. 

Theodore's  inventive  and  constructive  genius  had  for  all  these 
years  been  tethered  by  the  every-day  care  of  managing  all  de- 
partments of  his  Brunswick  factory.  Freed  now,  with  unlimited 
capital,  an  excellent  factory  organization  and  the  most  expert 
workmen  at  his  command,  Theodore  Steinway  had  opportunity  sel- 
dom offered.  He  made  the  best  use  of  it.  Step  by  step  he  invaded 
the  fields  of  modern  science,  investigating  and  testing  different 
kinds  of  wood  in  order  to  ascertain  why  one  kind  or  another  was 
best  adapted  for  piano  construction,  then  taking  up  the  study  of 
metallurgy,  to  find  a  proper  alloy  for  casting  iron  plates  which 
would  stand  the  tremendous  strain  of  75,000  pounds  of  the  new 
concert-grand  piano  that  was  already  born  in  his  mind,  calling 
chemistry  to  his  aid  to  establish  the  scientific  basis  for  felts,  glue, 
varnish,  oils, — in  short,  nothing  in  the  realm  of  science  having  any 
bearing  on  piano  construction  was  overlooked.  Having  thus  laid 
his  foundation,  he  returned  to  Germany  to  be  near  Helmholtz  and 
benefit  by  that  great  savant's  epoch-making  discoveries.  It  was 
but    natural    that    in    time    he    became    an    intimate    friend    of 


MEX  WHO  HAVE  MADE  PIAXO  HISTORY  305 

Helmlioltz,  and  the  world  was  benefited  by  that  friendship. 
Theodore  made  Brunswick  liis  home  again,  goin.n'  to  Xew  York 
at  regular  intervals  to  superintend  the  execution  of  his  inventions. 
At  his  Tusculum  in  Brunswick  he  had  one  of  the  most  complete 
collections  of  musical  instruments  of  every  character,  ancient  and 
modern,  and  he  knew  the  characteristics  of  each  so  well  that  it  was 
a  treat  to  listen  to  him  whenever  he  was  in  the  mood  to  show  and 
talk  about  his  gems.  To  widen  his  horizon  of  knowledge,  he  trav- 
eled extensively,  meeting  the  shining  lights  of  science,  art  and 
literature  wherever  he  went.  Germany  was  just  then  in  its  great- 
est period  of  scientific,  artistic  and  industrial  Renaissance.  Theo- 
dore profited  greatly,  being  a  keen  observer,  and  he  set  to  work 
to  bring  to  life  in  his  piano  the  discoveries  of  Helmholtz,  Tyndall 
and  others.  The  crowning  result  was  his  Centennial  concert-grand 
piano,  with  the  duplex  scale,  bent-rim  case,  cupola  iron  ])late  and 
improved  action  which  would  lift  that  heavy  hammer  made  of  23- 
pound  felt  by  the  slightest  touch  of  the  key,  setting  the  strings, 
which  were  of  a  length  and  thickness  heretofore  unknown,  in 
vibration. 

Theodore  was  an  intense  and  enthusiastic  worker.  Once  en- 
gaged upon  a  problem,  he  knew  no  limit  of  time.  The  author  has 
often  discussed  problems  of  i)iano  building  with  him,  the  experi- 
mental piano  before  us,  until  the  early  morning  hours.  Physically 
and  mentally  very  forceful,  imbued  with  quiet  Teutonic  strength, 
he  aimed  to  create  a  \nnno  which  would  respond  to  the  demands 
of  the  modern  dynamic  comi)ositions  of  a  Liszt,  Wagner  or  Rubin- 
stein, and  would,  orchestra-like,  fill  the  large  modern  concert  hall 
to  its  remotest  corners.  He  accomi)lislied  this  object  without 
sacrificing  that  desired  nobility  of  singing  tone  (luality. 

"While  Theodore  Steinway  has  not  created  anything  positively 
new  in  piano  construction,  he  revolutionized  piano  making  and 
all   auxiliary  industries  by  forcing  the   acceptance   of   scientific 


306 


PIANOS  AND  THEIR  MAKERS 


methods  upon  all  who  desired 
to  stay  in  the  progressive 
march.  He  demonstrated  to 
what  extent  science  can  aid 
in  the  development  of  the  pi- 
ano by  his  own  productions, 
and  thus  broke  the  path  for 
the  enormous  development  of 
the  industry  during  the  past 
30  years.  This  is  more  than 
all  the  empirics  have  ever 
done.  Theodore  Steinway 
died  at  Brunswick,  March 
26,  1889. 

Compensation   is    one   of 
the   inexorable   laws   of   na- 
ture.   Great  results  can  only 
be     achieved     by     great     efforts     and     corresponding  sacrifice. 
Steinway  &  Sons  had  to  pay  their  tribute  to  the  law  of  compen- 
sation ! 

Charles  Steinway,  born  on  January  1,  1829,  was  one  of  those 
silent  workers  who  fill  most  important  places  in  the  world  of 
activity.  Of  a  modest  and  retiring  disposition,  wrapped  up  in 
his  arduous  duties  of  organizing  and  managing  the  ever-growing 
factories,  Charles  knew  no  bounds  for  his  labors.  He  simply  ex- 
hausted himself  and  died  at  the  early  age  of  36  on  March  31,  1865, 
leaving  ])eliind  him  as  his  monument  the  piano  factory  par  excel- 
lence, a  foundation  for  Theodore  and  William  to  build  u])on,  with- 
out which  neither  one  of  these  two  great  men  could  have  achieved 
their  triumphs. 


Charles  Steinway 


MEN  WHO  HAVE  ^VfADE  PIANO  HISTORY 


3o: 


Henry      Stein  way,      Jr., 
born  on  Marcli  27,  18:U,  also 
])aid  the  penalty  I'or  too  in- 
tense application  to  the  fur- 
therance of  ambitious  plans. 
Naturally  of  a  highly  artis- 
tic,    nervous     temperament, 
Henry    devoted    himself    to 
the  nerve-racking  activity  of 
inventing  imi)rovements,  and 
the    patent     records     speak 
loudly  for  his  great  achieve- 
ments.   Seeking  food  for  his; 
restless        brain — enlighten- 
ment as  to  the  demands  of 
the    artist — Henry    was    at 
night-time  a  studious  citizen  "''">  ^temway 

of  Bohemia,  and  during  the  day  nervously  at  work  un  his  drawing- 
board.  Burning  the  candle  of  life  thus  brightly  at  both  ends,  it 
could  not  last  long,  and  the  talented  young  man  died  on  March  11, 
1865,  aged  only  lU  years. 

This  great  calamity  of  losing  the  two  brothers  within  tliree 
weeks'  time  threw  the  entire  burden  of  managing  the  great  Imsi- 
ness  u))on  young  William,  the  aged  father  having  gradually  with- 
drawn from  active  assistance.  "William  Stcinway  was  born  at 
Seesen  on  ]\Iarch  ."),  1835,  at  a  time  when  the  Steinway  family  was 
enjoying  prosjierity  and  fatlicr  and  mother  were  in  theii'  prime. 
He  was  a  strong,  healthy  boy,  i)hysi('ally  and  mentally.  T.ikc  his 
brother  Theodore  he  attended  the  Jacobsolm  College,  but  unlike 
Theodore  devoted  himself  to  the  study  of  languages  and  music 
proper,    rather    than    listening   to    dreary   lectures    on    acoustics. 


308 


PIANOS  AND  THEIR  MAKERS 


At  the  age  of  14  he  had  a 
good  command  of  English 
and  French,  played  the  piano 
acceptably  and  had  such 
a  musical  ear  that  he  could 
tune  a  three-stringed  grand 
l)iano  to  perfection.  When 
the  family  arrived  in  New 
York,  William  was  offered 
the  choice  of  studying  music, 
for  which  he  had  shown  pro- 
nounced talent,  or  learning 
piano  making.  He  chose  the 
latter  and  was  at  once  ap- 
prenticed to  William  Nunns 
&  Company,  one  of  the  best- 
known  New  York  piano  firms 
of  that  time.  As  soon  as  his 
father  started  in  business  William  joined  him,  and  worked  for  sev- 
eral years  at  the  bench,  until  the  commercial  end  of  the  business 
demanded  closest  attention.  William  was  by  unanimous  agreement 
chosen  as  the  head  of  the  financial  and  commercial  departments  of 
the  firm.  It  was  his  proper  sphere  and  furnished  another  illustra- 
tion of  the  keen  judgment  of  Henry  E.  Steinway,  Sr.  He  placed 
each  of  his  sons  where  his  particu'ar  talents  might  produce  the  best 
results. 

Being  only  29  years  of  age  when  called  upon  to  manage  an 
establishment  of  enormous  proportions,  William  did  not  waver. 
With  the  grit  and  determination  inherited  from  his  father,  he 
began  to  plan  greater  extensions.  Theodore  was  building  pianos, 
William  had  to  sell  them.     His  pet  scheme,  a  great  concert  hall. 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY         309 

was  soon  carried  out — Steinway  Hall  was  opened  in  1867  by  Theo- 
dore Thomas'  orchestra,  with  S,  B.  Mills  as  soloist  at  the  piauo. 
The  opening-  of  this  hall  was  the  inauguration  of  a  new  era  in  the 
musical  life  of  America.  Anton  Rubinstein,  Annette  Essipoff, 
Teresa  Carreno,  Fannie  Bloomfield-Zeisler,  Rafael  Joseffy,  Eu- 
gene D 'Albert,  Leopold  Damroseh  and  Anton  Seidl  made  their 
bows  to  select  audiences  from  the  itlatform  of  Steinway  Hall. 
William  Steinway  knew  that  the  American  people  needed  musical 
education.  He  provided  it,  and  no  one  man  has  done  as  nmch  for 
musical  culture,  or  has  inspired  the  love  for  art  among  the  Ameri- 
can people,  as  William  Steinway. 

Supporting  Theodore  Thomas'  great  orchestra,  so  that  it 
might  make  its  celebrated  journeys  through  the  entire  country 
(and  without  the  aid  of  Steinway  this  would  have  been  impossible), 
William  by  most  liberal  offers  induced  leading  European  virtuosos 
to  come  on  concert  tours  to  America.  He  was  the  ever-heli)ing 
friend  to  young  students  and  teachers.  His  inborn  liberality  would 
often  let  the  heart  be  master  of  better  judgment,  but  he  never 
I'egretted  his  acts  of  benevolence,  even  if  sometimes  repaid  with 
base  ingratitude. 

To  the  astonishment  and  chagrin  of  the  older  and  more  con- 
servative houses  in  the  piano  trade,  William  started  an  aggressive 
and  heretofore  unheard-of  advertising  campaign.  As  a  competent 
judge  he  knew  that  his  factories  turned  out  the  best  pianos  that 
could  possibly  be  made,  and  he  was  bent  not  only  on  letting  the 
world  know  it,  but  on  making  the  woi'ld  believe  it,  as  he  did.  This 
was  revolutionary,  even  shocking,  but  AVilliam  persisted  until  he 
carried  his  point. 

Having  established  the  fame  of  his  ])iano  in  America  beyond 
dispute,  William  looked  for  other  worlds  to  conquer,  and  opened 
a  branch  house  in  the  city  of  London  about  the  year  1875.  vStein- 
way  Hall  in  London  was  formally  opened  in  1870.     In  1880  the 


310  PIANOS  AND  THEIR  MAKERS 

Hamburg  factories  were  started,  to  sui^ply  the  ever-growing  Euro- 
pean trade. 

While  thus  engaged  in  building  up  this  great  market  for  the 
products  of  the  factories,  William  fostered  ambitions  in  other 
directions.  He  wanted  to  see  the  name  of  Steinway  on  the  map 
of  New  York;  and  with  that  end  in  view  he  bought  400  acres  of 
laud  on  the  Long  Island  Sound  in  1880,  and  there  created  the  town 
of  Steinway.  Starting  with  the  erection  of  a  sawmill  and  iron 
foundry,  in  course  of  time  the  case  and  action  factories  were 
erected,  and  since  1910  the  entire  piano  works  of  Steinway  &  Sons 
have  been  located  at  Steinway,  L.  I.,  New  York. 

W^illiam  Steinway  was  a  strong  man  in  every  sense  of  the  word. 
As  a  young  man  he  was  counted  among  the  invincible  athletes  of 
the  German  Turn  Verein,  and  even  in  his  later  years  it  was  one 
of  his  pleasantries  to  compare  muscular  strength  with  friends. 
To  say  that  mentally  he  was  a  giant  is  no  exaggeration.  Who- 
ever can  contemplate  the  multitude  of  details,  aside  from  the 
larger  schemes,  to  which  William  Steinway  paid  closest  attention, 
the  complex  financial  problems  which  confronted  him  in  times  of 
business  depression,  the  demands  made  upon  his  time  by  artists, 
members  of  the  press,  etc.,  must  wonder  how  he  could  pay  any 
attention  to  society  or  public  affairs.  Yet  we  find  that  he  was 
often  called  upon  to  lead  a  movement  in  politics  or  municipal 
affairs,  to  which  he  would  respond  with  unwonted  energy  and 
ability.  For  11  years  he  acted  as  president  of  the  Liederkranz, 
the  leading  German  singing  society  of  New  York.  He  was  director 
in  several  banks  and  an  active  member  of  leading  clubs.  Broad- 
minded  and  liberal  to  a  degree,  William  Steinway  could  always 
look  far  beyond  Steinway  Hall  when  danger  threatened  the 
piano  industry  or  a  helping  hand  could  be  extended  for  uplifting. 
It  is  unfortunate  that  history  never  will  record  his  manly  and 
heroic  actions   in  the   interest   of   the   entire  piano   industry   of 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  311 


Anierica  duriiii;'  tlit'  dai'k 
days  of  the  great  panics  of 
1893  and  1896.  He  stood 
like  tlu'  KNick  of  Gil)raltar 
against  tlio  waves  of  de- 
struction rampant  in  those 
days,  and  ))y  liis  great  in- 
flnence  in  financial  circles, 
his  sound  judgment  and 
counsel,  protected  the  credit 
and  fair  name  of  the  indus- 
try, often  by  timely  action 
preventing  inii)ending  disas- 
ter to  worthy  firms.  He  a})- 
plied  himself  with  such  in- 
tensity and  abandon  to  his 
duties    that    even    his    won-  -^"''"•t  sti-inway 

derfully  robust  constitution  had  to  give  way  under  tlie  protracted 
strain  and  exertion.  He  died  i)remature]y  on  November  30,  1896, 
a  martyr  of  conscientious  devotion  to  duty  as  he  saw  it.  Carl 
Sclnirz  delivered  the  funeral  oration  and  New  York  was  in 
mourning. 

The  youngest  son  of  Henry  Engelhardt,  All)ert  Steinway,  l)oni 
on  June  10,  1840,  like  his  brothers  had  chosen  piano  making  as  his 
life  work,  and  after  the  death  of  Charles  assumed  the  manage- 
ment of  the  factories.  He  made  the  ai)i)lication  of  machinery  for 
manufacturing,  modern  heating  and  lighting  systems  his  s])ecial 
study  and  thus  ke])t  the  Steinway  factories  in  the  front  rank  of 
progressive  industrial  establishments.  The  development  of  the 
village  of  Steinway  was  mainly  his  work,  and  the  i)lanning  and 
erection  of  the  sawmills,  iron  foundry,  metal  shops  and  case  fac- 
torv  were  entirelv  in  his  hands.    With  that  restless  zeal   so  char- 


312  PIANOS  AND  THEIR  MAKERS 

acteristic  of  the  Steinway  family,  urging  liim  to  accomplish  in  a 
given  time  more  than  his  bodily  strength  would  permit,  he  nnder- 
mined  his  none  too  strong  constitution  and  died  at  the  age  of  37 
on  May  14,  1877. 

It  is  almost  needless  to  say  that  in  course  of  time  honors  were 
showered  upon  the  house  of  Steinway,  in  recognition  of  its  many 
valuable  contributions  to  science,  art  and  ^::  lustry.  Theodore  and 
William  were  elected  Members  of  the  Societies  of  Art  of  Berlin, 
Paris  and  Stockholm,  and  William  was  decorated  with  the  Cross 
of  the  Red  Eagle  by  Emperor  William  of  Germany.  The  highest 
prizes  for  meritorious  products  have  invariably  been  awarded  to 
the  firm  wherever  their  pianos  have  been  exhibited,  and  the  leading 
courts  of  Europe  and  Asia  bestowed  the  honor  of  appointment  as 
"  special  purveyors  "  to  Steinway  &  Sons. 

Charles  H.  Steinway,  the  president  of  the  corporation,  has 
been  honored  by  the  Sultan  of  Turkey  with  the  Order  of  the  Liakat ; 
by  the  Republic  of  France  with  the  Cross  of  the  Legion  of  Honor; 
by  the  Shah  of  Persia  with  the  Order  of  the  Lion  and  Sun,  and  by 
the  Emperor  of  Germany  with  the  Order  of  the  Red  Eagle. 

All  of  the  founders  of  the  great  house  having  passed  to  the 
unknown  beyond,  their  work  is  continued  in  most  effectual  man- 
ner by  their  scions,  who,  true  to  tradition,  divide  the  mani- 
fold duties  among  themselves,  according  to  their  talents  and 
training. 

Charles  H.  Steinway,  son  of  the  late  Charles,  directs  the  com- 
mercial and  financial  policy  of  the  corporation.  His  brother, 
Frederick  T.,  is  in  charge  of  the  factories,  assisted  by  Theodore 
Cassebeer,  grandson  of  Doretta  Steinway-Ziegier. 

Henry  Ziegler,  son  of  Doretta,  and  pupil  of  the  late  Theodore 
Steinway,  is  in  charge  of  the  construction  dei)artment,  assisted  by 
the  late  William  Steinway 's  son,  Theodore  F.,  whose  elder  brother, 
William  R.,  is  in  charge  of  the  European  business. 


MEN  WHO  HAVE  MADE  PIANO  HISTOT^Y 


313 


Following  tluMi'  chosen 
leader  clieerfnily,  just  as 
Henry  Engelliardt's  sons  ac- 
knowledged their  father's 
authority  under  all  condi- 
tions, the  active  members  of 
the  House  of  Steinway  not 
only  nphold  the  foremost 
position  to  which  the  found- 
ers had  attained,  but  are 
adding  new  hiurels  to  the 
illustrious  name  l)y  con- 
stantly imjn-oving  the  qual- 
ity of  their  instruments  and 
extending  their  influence,  as 
leaders  of  the  industry,  to 
all  parts  of  the  civilized 
world. 

Theodore  A.  Heintzmann  is  perhaps  entitled  to  the  name  of 
father  of  the  piano  industry  in  Canada.  Born  at  Berlin,  Germany, 
on  May  19,  1817,  he  started  as  a  cabinetmaker,  learned  keymaking 
with  Buchholtz  and  perfected  himself  as  a  ])iano  maker  under 
Grimow.  After  traveling  extensively  on  tiie  Continent  of  Europe, 
he  landed  in  New  York  in  1850,  where  he  found  work  in  Lighte  & 
Newton's  factory.  Charles  Steinway  had  his  woi-k-l)ench  in  the 
same  room  with  Heintzmann.  In  185.')  he  went  to  Buffalo  and 
started  the  Western  Piano  Company,  which  enter] )rise  had  to  be 
abandoned  during  the  ])anic  of  1857.  ^Moving  to  Toronto  in  1860 
he  started  a  piano  shop  without  any  capital,  but  his  instruments 
were  of  such  a  high  order  that  he  found  ]nirchasers  for  them  quite 
easily.  The  business  grew  steadily  under  his  energetic  manage- 
ment and  ranks  to-day  among  the  leading  industrial  establishments 


Tlu'Oikuu  A.   llciiitziiiaiin 


314 


PIAXOS  AND  THEIR  MAKERS 


of  the  Dominion.  Heintz- 
niann  died  on  July  25, 
1899.  The  business  lias 
been  taken  over  by  a  cor- 
poration, in  the  manage- 
ment of  which  four  sons 
of  the  late  Heintzmann 
take  active  part. 

Among  the  many  Ger- 
mans who  left  their  fa- 
therland after  the  failure 
of  the  Revolution  of  1818, 
was  Ernest  Grabler.  Born 
in  Glogau,  Silesia,  he 
landed  at  Xew  York  in 
1851,  and  started  in  busi- 
ness in  1854.  Building  a 
substantial  piano  at  a 
moderate  price,  he  met 
with  considerable  financial  success.  He  died  February  27, 
1883. 

A  peculiar  character,  with  many  strong  traits,  we  tind  in  Free- 
born Garrettson  Smith.  Learning  his  trade  in  Baltimore,  he  worked 
for  some  time  in  Chickering's  factory.  In  1861  he  became  super- 
intendent for  William  B.  Bradbury.  Bradbury  was  a  musician  by 
profession,  who  had  bought  an  interest  in  the  firm  of  Lighte  & 
Newton  (established  in  1848),  and  when  he  dissolved  partnership 
with  Lighte,  he  found  in  Smith  a  good  manager  for  his  factory. 
After  Bradbury's  death  in  1867  Smith  bought  the  business,  con- 
tinuing the  name  of  Bradbury.  Immediately  the  commercial  in- 
stincts of  Smith  came  to  the  surface,  and  he  developed  greater 


Ernest  Gabler 


MEN  WHO  HAVE  MADE  PIANO  HISTOKY 


115 


F.  G.  Sinitli 


talents  as  a  distributor  of 
pianos  than  as  a  maker. 
Original  in  his  methods,  he 
l)uhlished  for  a  k)ng  time  a 
testimonial  of  tlie  well- 
known  prejicher,  T.  DeWitt 
Talmage,  in  which  the  latter 
declared  that  if  the  angels 
are  using  musical  instru- 
ments in  heaven,  the  Brad- 
bury })iano  would  surely  be 
there,  because  of  its  sweet 
tone. 

Smith  was  among  the 
first  who  opened  warerooms 
in  leading  cities,  selling  his 

product  direct  to  the  ])ublic  rather  than  through  dealers.  He  is 
counted  among  the  wealthiest  of  those  men  in  the  piano  trade  who 
have  accumulated  their  fortunes  by  thrift,  energy  and  exceptional 
business  ability. 

While  working  at  the  melodeon  factory  of  George  A.  Prince 
&  Company  of  ButTalo,  Emmons  Hamlin  made  the  iin])ortant  dis- 
covery of  "  voicing  "  organ  reeds,  so  that  a  given  reed  could  be 
made  to  imitate  a  clarinet,  violin  or  other  instrument.  He  devel- 
oped this  discovery  to  perfection  and  in  1854  formed  a  partner- 
ship with  Henry  Mason  under  the  tirm  name  of  ^fason  «S:  Hamlin, 
for  the  purpose  of  manufacturing  a  new  musical  instrument  called 
*'  organ  harmonium."  Hamlin  was  a  painstaking,  exact  working 
mechpnic,  with  considerable  genius  as  an  inventor. 

Henry  Mason,  reared  under  the  best  nmsical  traditions  of 
Boston,  and  graduated  from  a  German  university,  was  imbued  with 


316 


PIANOS  AND  THEIR  MAKERS 


that  artistic  devotion  to 
music,  which  we  find  to  this 
date  expressed  in  the  ahnost 
flawless  instruments  pro- 
duced b}^  the  Mason  &  Ham- 
lin Company. 

Starting    with    a     small 
capita],    but    determined    to 
produce  the  very  best  instru- 
ments only,  the  firm  met  with 
almost  instant  success.    Not 
content    with    the   manufac- 
ture of  their  humble  instru- 
ment,  they   soon   developed 
what  has  become  known  as 
the  American  Cabinet  Organ. 
This  instrument  won  for  the 
firm    a    world-wide    reputa- 
tion   and    the    highest    possible    honors    and    awards    were    be- 
stowed uiDon  their  products  at  all  World's  Expositions,  wherever 
exhibited. 

In  1881  the  manufacture  of  pianos  was  added  to  their  indus- 
tries. The  Mason  &  Hamlin  piano  advanced  rapidly  in  popular 
favor  and  is  accepted  by  the  most  eminent  virtuosos  and  musicians 
of  the  day,  as  an  artistic  instrument  of  the  highest  order. 

Among  the  pioneers  of  the  melodeon  and  organ  industry  was 
Bernhard  Shoninger,  a  native  of  Germany,  who  landed  in  America 
in  1847,  and  started  his  factory  at  New  Haven,  Conn.,  in  1850. 
Branching  out  to  the  making  of  pianos,  he  secured  for  his  instru- 
ments the  same  enviable  reputation  which  had  been  accorded  to 
his   organs,     Bernhard   Shoninger   died   on   June   3,   1910,     The 


Bernhard  Shoniiiircv 


MEN  AYHO  HAVE  MADE  PIANO  HISTORY 


117 


business  is  contiiuK'd  under 
the  able  direction  of  his  son, 
S.  B.  Shoninger. 

Myron  A.  Decker,  born 
at  Manchester,  N.  Y.,  on 
January  2,  1823,  served 
a  four-year  apprenticeship 
with  A^an  AVinklc  at  the  time 
when  Al])ert  We])er  was  tak- 
ing his  post-graduate  course 
in  the  same  shop.  He  then 
went  to  work  for  Boardman 
&  Gray  at  Albany,  and 
started  a  factory  in  that  city 
in  1856.  At  the  State  Fair 
held  at  Syracuse  in  1858 
Decker  received  a  diploma 
for  the  best  piano  exhibited. 

In  1859  he  removed  to  New  Y^ork,  occupying  for  many  years  the  his- 
toric building  on  Third  Avenue  and  Fourteenth  Street,  in  which 
Osborn,  and  later  Worcester,  had  made  i)ianos  many  years  before. 
In  1877  his  son,  Frank  C.  Decker,  was  admitted  to  ijartnershiji  and 
the  firm  changed  to  Decker  «S:  Son. 

Myron  A.  Decker  died  in  1901.  He  was  one  of  the  old  school 
,  of  master  mechanics,  more  concerned  in  designing  and  building  a 
thoroughly  artistic  piano  than  in  accumulating  wealth.  The  tirm 
was  changed  to  a  corporation  in  1909,  with  Frank  C.  Decker  as 
president  and  manager.  Frank  C.  Decker,  Jr.,  grandson  of  the 
founder,  is  preparing  himself,  under  the  tutelage  of  his  father,  to 
perpetuate  the  well-earned  fame  of  the  name  of  Decker  in  the  piano 
world. 


^Ivroii  A.  Docker 


318 


PIANOS  AND  THEIR  MAKERS 


Among  the  few  who  de- 
voted their  lives  to  the  one 
object,  the  improvement  of 
the  piano,  especially  its  to- 
nal qualities,  George  Steck's 
name  will  ever  be  mentioned 
as  one  of  the  first.  Born 
near  Cassel,  Germany,  on 
July  19,  1829,  Steck  studied 
with  that  celebrated  master, 
Carl  Scheel  of  Cassel. 
Coming  to  America  in  1853, 
he  started  his  factory  in 
1857  and  met  with  such  ex- 
ceptional success  that  he 
was  able  to  open  Steck  Hall 
on  Clinton  Place,  New  York 
City,  in  1865,  where  his  con- 
cert grand  pianos  were  played  by  the  leading  artists  of  the  day. 
Later  on  a  larger  hall  was  opened  on  Fourteenth  Street  to  meet  the 
demands  of  a  steadily  growing  business, 

Steck  was  one  of  those  restless  natures  who  are  never  satisfied 
with  the  best  of  their  work.  As  a  scale  drawer  he  had  no  superior. 
His  scales  for  both  grand  and  upright  pianos  have  been  indus- 
triously copied  by  makers  of  commercial  pianos,  because  of  their 
exceptional  merit  for  clear  and  large  tone.  His  concert  grands 
have  been  highly  endorsed  by  Richard  Wagner,  Sophie  Menter, 
Annette  Essipoff,  Sir  Julius  Benedict  and  many  others. 
Because  of  the  exceptional  solidity  of  the  Steck  piano,  it 
lias  been  chosen  for  years  by  many  schools  and  colleges 
all  through  the  United  States,  and  has  become  known  as  the 
"  school  piano." 


George  Steck 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 
Personally,  George  Steck 


310 


vras  a  most  lovable  cliarac- 
ter,  who  liad  no  enemies, 
finding  i)!oasnre  in  the  pur- 
snit  of  his  art,  with  no  par- 
ticuhir  regard  for  the  com- 
mercial end  of  the  business. 
To  assure  for  his  co-workers 
l)roi)er  com})ensation  for 
faithful  service,  Steck  in- 
corporated his  business  in 
1884,  allotting  shares  of 
stock  to  his  employees. 
Gradually  shifting  the  re- 
sponsibilities and  cares  upon 
younger  shoulders,  he  retired 
from  active  participation  in 
1887.     The  last  10  years  of 

his  life  were  devoted  entirely  to  his  pet  scheme  of  constructing  a 
piano  which  would  stand  permanently  in  tune.  His  experiments  in 
that  direction  were  very  interesting,  but  he  could  not  see  the  fulfill- 
ment of  his  dream.  He  died  on  March  31,  1897.  In  190-1-  the  busi- 
ness was  consolidated  with  the  Aeolian  C'ompany  of  New  York, 
under  whose  direction  the  manufacture  of  the  Steck  pianos  is  con- 
tinue<l  with  great  energy  and  ability.  The  business  having  out- 
grown the  home  facilities,  large  additional  factories  have  been 
established  at  Gotlia,  Germany,  to  sup])ly  the  foreign  demand  for 
these  pianos. 

One  of  the  prominent  piano  manufacturers  of  the  early  days 
was  Henry  Behning.  Born  at  Hanover,  Germany,  on  November  3, 
1832,  he  learned  piano  making  with  Julius  Gercke  and  came  to 


Henry  Behning 


320 


PIAXOS  AXD  THEIR  MAKERS 


Hugo  Solinier 


America  in  1856.  He  found 
employment  in  the  shop  of 
Lighte  &  Newton.  At  the 
outbreak  of  the  Civil  War  he 
enlisted  with  the  Union 
xVrmy,  taking  part  in  the  hos- 
tilities, but  was  soon  honor- 
ably discharged  for  disabil- 
ity. In  1861  he  started  in 
business,  making  a  good 
commercial  piano.  In  1880 
he  admitted  his  son  Henry  to 
partnership,  under  the  firm 
name  of  Henry  Belming  & 
Sou.  He  retired  from  busi- 
ness in  1894  and  died  on 
June  10,  1905.    The  firm  was 


changed  in  1894  to  the  Behning  Piano  Company,  a  corporation 
under  the  management  of  Henry  Behning,  Jr.,  and  Gustav 
Behning. 

Hugo  Sohmer,  born  in  the  Black  Forest,  Germany,  in  1846, 
had  the  benefit  of  a  classical  education,  including  a  thorough  study 
of  music.  He  came  to  New  York  at  the  age  of  sixteen  and  served 
his  apprenticeship  with  Schiitze  &  Ludolff.  Returning  to  Ger- 
many he  studied  piano  making  for  two  years  in  some  of  the  leading 
factories  there.  In  1870  he  founded  the  firm  of  Sohmer  &  Com- 
pany, by  taking  over  the  business  of  Marshall  &  Mittauer.  Sohmer 
is  a  thorough  piano  maker  who  has  patented  many  improvements, 
enhancing  the  value  of  his  product.  With  strongly  developed 
artistic  inclination,  Sohmer  has  ever  been  satisfied  to  produce  an 
artistic  instrument,  rather  than  to  merely  manufacture  large  quan- 
tities. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


321 


Among  the  firms  that 
have  succeeded  in  producing 
a  liigh-grade  piano  and  scor- 
ing at  the  same  time  a  re- 
markable financial  success, 
Jacob  Brothers  stand  pre- 
eminent. Charles  Jacob  stud- 
ied piano  making  with  Calen- 
berg  &  Vaupel,  who  stood 
high  among  the  masters  of 
their  day,  while  his  brother, 
John  F.  Jacob,  worked  for 
years  with  Hardman,  Peck 
&  Company,  and  Billings  & 
Wheelock.  They  started  in 
business  in  1878.  After  the 
death   of   John   F.   in   1885,  <^'i'^^^i^'^  J^^^^^'^ 

the  youngest  brother,  C.  Albert,  was  admitted  to  the  firm,  and 
in  1902  the  business  was  incorporated.  Besides  their  own  ex- 
tensive factory,  this  corporation  owns  the  AVellington  Piano  Case 
Company,  the  Abbott  Piano  Action  Company  and  has  also  taken 
over  the  Mathushek  &  Son  Piano  Company,  and  the  old  established 
business  of  James  &  Holmstrom,  all  of  which  are  continued  with 
marked  success  under  the  presidency  of  Charles  Jacob,  assisted 
by  his  brother  Albert. 

One  of  the  most  interesting  characters  in  the  history  of  the 
piano  industry  was  Frederick  Mathushek,  born  at  Mannheim  on 
June  9,  1814.  He  learned  piano  making  at  Worms.  After  serving 
his  apprenticeship,  he  traveled  through  Germany  and  Austria,  and 
finally  landed  in  Henri  Pape's  shop  at  Paris,  where  he  became  thor- 
oughlv    infected    with    that    inventor's    bacteria.      Returning    to 


322 


PIANOS  AXD  THEIR  MAKERS 


AVorms,  he  began  to  build 
freak  pianos  similar  to  those 
he  had  seen  at  Pape's.  One 
of  his  octagon  "  table  13 i- 
anos,"  built  at  Worms,  is 
among  the  collection  of  an- 
tique pianos  at  the  Ibach 
Museum  at  Barmen.  Al- 
though a  splendid  workman 
and  particularly  gifted  tone 
specialist,  which  enabled  him 
to  build  superior  artistic  pi- 
anos, his  business  was  not  a 
success  financially. 

In  1849  Mathushek  landed 
in  New  York,  and  was  imme- 
diately engaged  by  John  B. 
Dunham  to  draw  new  scales 
and  make  other  improvements.  It  is  said  that  Mathushek  drew  a 
scale  for  overstrung  square  pianos  in  Dunham's  shop  in  1850.  It 
has  never  been  disputed  that  the  reputation  which  the  Dunham 
pianos  enjoyed  in  their  day  was  due  to  the  work  of  Mathushek.  It 
was  here,  also,  that  he  constructed  his  piano  hammer-covering 
machine,  which  has  been  used  as  a  foundation  for  all  later  improve- 
ments in  that  line. 

In  1852  Mathushek  started  again  on  his  own  account,  continuing 
until  1857,  when  Spencer  B.  Driggs  tempted  him  with  most  lib- 
eral offers  to  work  out  the  vague,  not  to  say  wild,  notions  which 
Driggs  had  conceived  of  revolutionizing  the  construction  of  the 
piano.  It  was  impossible  for  even  so  great  and  versatile  a  genius 
as  Mathushek  to  achieve  any  practical  results  by  following  Driggs* 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY         323 

ideas,  and  we  find  him  in  1866  as  head  of  the  Matlmshek  Piano 
Company,  at  Xew  Haven,  Conn.  It  was  here  tliat  he  did  his  best 
work.  His  invention  of  the  linear  bridge  and  equalizing  scale 
enabled  him  to  produce  in  his  small  "  Colibri  "  j^iano  a  tone  richer 
and  fuller  than  could  be  found  in  many  a  large  square  piano,  while 


Mathusliek's  "  Table  Piano,"  from  the  Ibacli  CoUeotioa 


324 


PIANOS  AND  THEIR  MAKERS 


war""  '-tT 


his  orchestral  square  piano 
has  never  been  excelled,  if  it 
ever  had  its  peer.    In  volume 
J   and  musical  quality  of  tone 
]   these   orchestral   square   pi- 
anos  were   far   superior   to 
many    of    the    short    grand 
r^fM   pianos  of  the  present  time, 
possessing,  especially  in  the 
middle    register,    an    almost 
bewitching  sweet  mellowness 
of  tone,  reminding  vividly  of 
the    cello    tones.     Unfortu- 
nately   for    Mathushek,    the 
owners  of  the  company  soon 
commercialized  the  product, 
and  his  dream  of  some  day 
building  a  concert  grand  pi- 
ano such  as  he  had  in  his  mind  was  never  realized. 

He  drew  many  grand  piano  scales  for  other  manufacturers, 
but,  strange  as  it  may  sound,  Mathushek 's  scales  were  only  a  suc- 
cess when  he  could  work  out  the  entire  piano  as  he  conceived  it 
in  his  own  mind.  It  is  no  exaggeration  to  state  that  Mathushek 
could,  as  a  voicer,  j^roduce  a  tone  quality  in  his  own  pianos  that 
no  other  man  could  imitate.  The  author  had  the  privilege  of 
working  alongside  Mathushek  for  a  number  of  years  at  the  New 
Haven  factory  and  observed  the  radical  transformation  of  tone 
quality  after  Mathushek  had  gone  over  the  hammers  with  his 
tools.  A  good  player  of  the  piano,  with  a  wonderfully  sensitive 
and  trained  ear,  he  quickly  detected  an  almost  imperceptible  short- 
coming and  usually  knew  how  to  correct  it.    His  fault,  if  it  is  to 


Frederick  Mathushek 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  325 

be  called  so,  was  his  irresistible  restlessness  in  seeking  for  im- 
l^rovements,  wliich  often  robbed  him  of  his  night's  rest  and 
prompted  continual  changes  while  a  large  number  of  pianos  were 
in  course  of  construction.  Modern  manufacturing  methods  do  not 
i:)ermit  of  too  nnicli  exi)erimenting,  and  like  his  master,  Pape, 
Mathushek  died  a  poor  man.  In  1871  he  left  New  Haven,  and  with 
his  grandson  started  the  firm  of  Mathushek  &  Son  in  New  York. 
It  was  finally  changed  to  a  corporation  and  consolidated  with 
Jacob  Brothers,  under  whose  able  management  the  business  has 
flourished. 

It  is  impossible  to  discuss  or  even  to  enumerate  the  manifold 
inventions  of  Frederick  Mathushek.  He  was  even  more  prolific 
than  Henri  Pape,  but  differed  from  Pape  in  not  being  given  to 
merely  experiment  with  ideas  for  the  sake  of  novelty. 

Mathushek 's  whole  existence  was  dominated  by  the  desire  to 
produce  in  a  piano  that  ideal  musical  tone  which  he  could  hear 
mentally,  just  as  the  deaf  Beethoven  heard  his  symphonic  poems 
when  he  wrote  them.  Mathushek  never  had  an  opportunity  to 
develop  what  he  had  in  mind  and  felt  in  his  soul.  He  came  near 
to  it  in  his  orchestral  square  i3iano,  and  almost  accomplished  his 
aim  in  his  equilibre  system.  The  piano  industry  of  America  is 
largely  indebted  for  its  wonderful  development  to  the  genius  of 
Frederick  Mathushek.    He  died  November  9,  1891. 

With  hope  and  high  ambition,  William  E.  Wheelock  entered  the 
trade  in  1873,  at  the  age  of  twenty-one  years,  as  a  member  of  the 
firm  of  Billings  &  Wheelock.  In  1877  the  partnership  was  dis- 
solved, and  he  began  the  manufacture  of  the  Wheelock  piano. 
In  1880  the  firm  name  became  AVilliam  E.  Wheelock  &:  Co.  The 
demand  for  the  AVheelock  i)iano  had  increased  so  rapidly  that 
better  facilities  became  necessary,  and  a  large  factory  with  grounds 
comprising 21  city  lots  on  UDtli  Street,  New  Yoik,  was  ac(|uired.  In 
1886  the  Stuyvesant  Piano  Company  was  started  to  meet  the  de- 


326 


PIANOS  AND  THEIR  MAKERS 


mand  for  a  medium-priced 
piano,  and  in  1892  control 
of  the  business  of  the 
late  Albert  Weber  was 
obtained.  Wheelock  and 
his  partners,  Charles  B. 
Lawson  and  John  W.  Ma- 
son, organized  the  Weber 
Piano  Company  and  thus 
became  the  first  manufac- 
turers who  could  offer  to 
the  trade  a  full  line  of  the 
most  merchantable  grades: 
the  Weber,  a  piano  of 
the  highest  reputation  and 
qualities;  the  Wheelock,  as 
a  first-class  instrument,  and 
the  medium-priced  Stuy- 
vesant — all  made  in  sepa- 
rate factories,  but  prac- 
tically under  one  control 
and  management.  This  idea,  later  on,  was  successfully  followed 
by  many  of  the  leading  concerns  in  the  United  States.  When  the 
opportunity  to  consolidate  his  three  companies  with  the  Aeolian 
interests  presented  itself  in  1903,  Wheelock  saw  the  greater  possi- 
bility for  the  future  of  his  enterprise  in  such  a  combination  and 
entered  into  the  arrangement  whereby  he  became  treasurer  of  the 
new  and  larger  corporation  then  formed,  while  remaining  presi- 
dent of  the  several  piano  companies  of  which  for  many  years  he 
had  been  the  head. 

Educated  as  a  musician,  becoming  a  violinist  and  orchestra 
conductor  of  note,  Simon  Krakauer,  born  at  Kissingen,  Germany, 


lilUlic^^u^  (^^iiC^ji.e£<rJL 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


327 


in  1816,  came  to  America  in 
1854  and  started  manufac- 
turing pianos  in  1869,  with 
his  son  David,  who  had 
learned  the  trade  in  A.  H. 
Gale's  shop  and  later  on 
worked  for  Haines  Brothers 
and  other  Xew  York  makers. 

It  was  but  natural  that 
the  thorough  musician,  Kra- 
kauer,  should  strive  to  build 
an  artistic  piano,  making 
quality  the  dominant  effort, 
seeking  to  obtain  musical 
tone  quality.  In  1867  Julius 
and  Daniel  Krakauer  joined, 
and  the  firm  was  changed 
to   Krakauer   Brothers.     In 

1903  the  concern  was  incorporated.     David  Krakauer  died  in  1900, 
and  his  father  in  1905. 

"William  B.  Tremaine,  born  in  1840,  entered  the  piano  business 
in  1868  as  a  member  of  the  firm  of  Tremaine  Brothers.  A  man  of 
restless  disposition,  cultured  and  versatile,  he  seized  upon  oppor- 
tunities whenever  presented.  When  Mason  J.  Mathews  had  his 
orguinette  ready  for  the  market,  Tremaine  organized  in  1878  the 
*'  Mechanical  Orguinette  Company,"  and  marketed  these  auto- 
matic instruments  by  the  thousands.  Later  on  the  ''  Celestina  " 
(an  enlarged  orguinette)  was  introduced  with  considerable  suc- 
cess, and  in  1883  the  Aeolian  organ  was  brought  out.  Acquiring 
in  1888  the  patents  and  stock  in  trade  of  the  Automatic  Music 
Paper  Company  of  Boston,  Tremaine  organized  the  Aeolian  Organ 
&  ]\rusic  Company,  manufacturing  automatic  organs  and  music 


Simon  Krakauer 


328 


PIANOS  AND  THEIR  MAKERS 


rolls.  Success  crowning 
his  efforts,  lie  purchased 
in  1892  all  the  patents 
owned  l)y  the  Monroe 
Organ  Reed  Company  of 
Worcester,  and  in  1895 
introduced  the  "  Aeriol  " 
self-playing  piano. 

W.    B.    Tremaine   was 
the   founder  of  the  busi- 
ness    of     manufacturing 
automatic  playing  musical 
instruments.     Before   the 
advent  of  the  "  Pianola  " 
there  was  neither  competi- 
tion   nor    encouragement 
from  the  piano  trade,  and 
it  required  a  man  of  keen 
foresight  and  courage  to  meet  these  conditions  and  make  a  suc- 
cess of  the  business,  as  he  did,  up  to  the  time  of  his  relinquishing 
it  to  his  son. 

Many  writers  point  to  the  fact  that  a  large  number  of  our 
captains  of  industry  have  been  born  on  a  farm,  have  lacked  higher 
education  and  had  to  "  make  themselves,"  inferring,  if  not  ])Osi- 
tively  asserting,  that  greatness  in  man  can  only  originate  on  the 
soil  or  in  the  dwelling  of  the  poor.  In  1866  a  boy  was  born  in 
the  city  of  Brooklyn  who  was  christened  Harry  B.  Tremaine. 
The  father  and  mother,  highly  educated  people  of  culture  and 
refinement,  brought  up  their  boy  with  all  the  advantages  which  a 
large  city  offers.  Unlike  the  country  lad,  young  Tremaine  saw 
the  sky-scraping  office  buildings  of  New  York  go  up,  saw  the 
traffic  on  its  thoroughfares,  the  ships  in  the  harbor,  loading  and 


William  B.  Tremaine 


MEX  WHO  HAVE  MADE  PIANO  HISTORY 


329 


unloading  merchandise  to 
and  from  all  quarters  of  the 
globe.  He  was  not  awe- 
struck. It  looked  natural  to 
him.  He  saw  it  every  day 
when  he  went  to  school,  but 
he  observed  and  absorbed. 
Contrary  to  the  old  prescrij)- 
tion  according  to  which  the 
great  men  of  the  future  had 
to  leave  the  schoolroom  at 
the  age  of  13  or  14  to  learn 
a  trade,  young  Tremaine 
wanted  to  go  to  the  high 
school.  Instinctively,  he  felt 
that  there  must  be  a  big 
story  back  of  all  this  commo- 
tion   on    Broadway    and    in 

Wall  Street,  there  must  be  laws  and  system  behind  all  of 
it,  and  he  wanted  to  know  them  before  he  would  attempt  to  take 
his  place  on  the  stage  as  one  of  the  actors.  That  he  would 
play  a  leading  role  was  beyond  question  for  him,  but  he 
wanted  to  be  well  prepared  to  know  his  lines  and  what  they 
meant. 

In  Harry  B.  Tremaine  we  meet  the  new  element  in  the  business 
world.  The  thorough  education  which  he  had  enjoyed  had  trained 
his  mind  in  logical  reasoning,  supporting  his  large  vision  for  utili- 
zation of  modern  inventions  and  discoveries  on  a  large  scale. 
Tremaine  had  the  great  advantage  that  he  had  notliing  to  forget. 
He  also  knew  how  to  apply  all  that  he  had  learned  in  relation  to 
modern  economics.  When  he,  in  1898,  took  charge  of  the  business 
of  the  Aeolian  Company  as  president,  he  surveyed  the  situation  as 


Harry  B.  Tremaine 


330 


PIAXOS  AND  THEIR  MAKERS 


it  joresented  itself.  His 
father  had  laid  a  good 
foundation.  Votey  had 
perfected  his  Pianola. 
How  to  exploit  what  he 
found,  to  its  fullest  ex- 
tent, was  the  problem 
for  Tremaine  to  solve. 
Believing  with  the  en- 
thusiasm of  youth  in 
the  almost  boundless 
commercial  possibilities 
of  the  new  automatic 
appliances  for  musical 
instruments,  he  knew 
that  success  was  only 
obtainable  if  adequate 
capital  could  be  com- 
bined with  the  manu- 
facturing and  selling 
organization  then  at  his  command.  So  strong  was  his  faith,  so  plau- 
sible the  plans  which  he  had  worked  out  that  he  did  succeed  in  inter- 
esting men  of  affairs,  and  obtained  capital  by  the  millions  for  the 
furtherance  of  his  ambitious  plans.  Backed  by  this  abundant  capi- 
tal, he  lost  no  time  in  setting  his  machinery  in  motion.  The  adver- 
tising campaign  for  the  Pianola,  which  he  inaugurated  immediately, 
stunned  the  old-timers  in  the  piano  trade.  Dire  disaster  was 
prophesied  by  many,  but  Tremaine  knew  his  cards,  his  carefully 
laid  plans  did  not  miscarry  and  no  one  to-day  denies  him  the  credit 
of  having  blasted  and  paved  the  way  for  the  jDopularity  of  the 
player  piano.  Like  all  great  leaders,  Tremaine  has  the  talent  to 
pick  the  right  man  for  the  right  place.    He  found  an  able  assistant 


Edward  R.  Perkins 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


331 


in  Edward  R.  Perkins, 
who  joined  the  Aeolian 
forces  in  1893  at  the  age 
of  24.  Perkins  exhibited 
such  ability  and  strength 
that  he  was  intrusted  with 
the  responsible  position  of 
vice-president  and  general 
manager  when  the  greater 
organization  was  completed. 

AVilliam  E.  AYheelock 
came  into  the  fold  as  presi- 
dent of  the  "Weber  Piano 
Company  in  1903,  and  is 
now  in  charge  of  the  finan- 
cial department  as  treas- 
urer of  the  cori:)oration. 

Tremaine       understands 


Edwin  S.  Votey 


the  economy  of  high-priced  labor.  When  he  wanted  to  build 
the  best  player  pianos  he  secured  the  services  of  Pain, 
Votey,  Kelly  and  others  of  ability.  Just  as  soon  as  he  was 
ready  to  enter  the  piano  field  i^roper,  he  associated  with  the 
Weber  and  Steck  piano,  and  finally  made  a  combination  with  the 
house  of  Steinway  for  the  exclusive  use  of  the  Pianola  in  their  in- 
struments. Knowing  that  large  capital  can  be  economically  applied 
only  under  conditions  of  increasing  returns,  which  again  are  only 
possible  with  relatively  large  markets,  he  branched  out  and  went  into 
the  markets  of  Europe,  Asia,  South  America  and  Australia.  For 
the  stimulus  of  the  home  market  bidding  for  the  patronage  of  the 
wealthy,  Tremaine  built  Aeolian  Hall,  in  the  very  heart  of  Xew 
York's  fashionable  quarters,  engaging  the  best  artists  to  demon- 


332 


PIANOS  AND  THEIR  MAKERS 


strate  the  value  of  liis 
products  at  the  elegant 
auditorium.  In  1903  he  or- 
ganized the  Aeolian,  Weber 
Piano  &  Pianola  Company, 
capitalized  at  $10,000,000 
and  controlling  the  following 
subsidiary  companies :  The 
Aeolian  Company,  the  Or- 
chestrelle  Company  (Lon- 
don), The  Choralion  Com- 
l^any  (Berlin),  The  Aeolian 
Company,  Ltd.  (Paris),  The 
Pianola  Company  Proprie- 
tary, Ltd.  (Melbourne  and 
Sydney),  the  Weber  Piano 
Company,  George  Steck  & 
Company,  Wheelock  Piano 
Company,  Stuyvesant  Piano  Company,  Chilton  Piano  Com- 
pany, Teclmola  Piano  Company,  Votey  Organ  Company,  Vocalian 
Organ  Company  and  the  LTniversal  Music  Company.  These  com- 
panies give  employment  to  about  5,000  people,  scattered  all  over 
the  world.  Aside  from  the  extensive  piano  factories  in  New  York 
City,  and  the  player  factories  at  Garwood  and  Meriden,  there  is 
a  Steck  piano  factory  at  Gotha,  Germany,  producing  3,500  pianos 
annually,  and  a  large  factory  for  the  AVeber  Piano  Company  is 
in  course  of  construction  at  Hayes,  near  London,  Operating  as 
independent  concerns,  these  companies  are  capitalized  at  about 
$1,000,000.  The  total  capital  employed  under  the  direction  of 
Harry  B.  Tremaine  amounts  to  $15,500,000,  which  is  more  than 
the  capital  invested  in  the  entire  piano  and  organ  industry  of  the 
United  States  in  1890. 


George  B.  Kelly 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  333 

The  remarkable  results  achieved  by  Tremaine  within  so  short 
a  time  can  be  accounted  for  by  the  fact  that  he  learned  from  history 
what  others  had  to  learn  in  the  dreary  school  of  experience.  As 
an  observant  student,  he  saw  the  potentialities  of  mechanical  a\)- 
pliances  for  musical  instruments  and  knew  how  to  develop  them. 
A  genius  as  an  organizer,  he  believes  in  combination  of  capital 
and  brains,  division  of  labor  and  responsibilities,  and  adequate 
compensation  for  all.  He  has  proven  that  a  higher  education  is 
not  an  hindrance  for  advancement,  but  a  necessity  for  progress  in 
industrial,  commercial  or  financial  pursuits.  He  has  made  his 
record  in  breaking  the  i)ath  for  the  new  school  of  industrial  revo- 
lutionists in  the  piano  industry.  A  pioneer  of  the  most  forceful, 
aggressive  type,  he  is  withal  of  a  gentlemanly  and  most  retiring 
disposition,  shunning  publicity  to  an  unwarranted  degree. 

William  B.  Tremaine  died  in  1907,  having  seen  his  work  bear 
fruit  a  thousand-fold  under  the  magic  wand  of  his  gifted  son. 

How  rapidly  the  player  piano  is  forging  to  the  front,  with  almost 
irresistible  force,  is  clearly  demonstrated  by  the  tremendous  growth 
of  such  factories  as  seem  to  know  how  to  serve  the  i^ublic  best. 

Among  those  the  Autopiano  Company  has  made  its  mark  by 
producing  a  j^layer  piano  of  distinctly  original  construction  and 
quality. 

The  demand  for  their  player  has  always  been  ahead  of  the 
capacity  to  supply,  and  artists  of  the  highest  standing  are  praising 
the  dominant  features  which  distinguish  this  instrument  from 
many  others.  Although  established  only  8  years  (1903)  the  Auto- 
piano Company,  under  the  aggressive  management  of  President 
E.  W.  Lawrence,  has  risen  to  a  i)osition  of  one  of  the  largest  pro- 
ducers of  player  pianos.  Manufacturiiii;-  tlioroughly  reliable  in- 
struments and  employing  comprehensive,  modern  business  methods 
the  Autopiano  Company  is  rendering  valuable  service  for  the 
introduction  of  the  player  piano. 


334  PIANOS  AND  THEIR  MAKERS 

Because  of  the  impetus  given  to  the  player-piano  industry  by 
the  extensive  advertising  of  tlie  Aeolian  Company,  Wilcox  &  White 
Company  and  others,  a  demand  for  a  reliable  plaj^er  action  made 
itself  forcibly  felt.  Charles  Kohler  seized  upon  the  opportunity 
and  established  the  Auto-Pneumatic  Action  Company  in  1900.  He 
secured  the  active  assistance  of  W.  J.  Keeley,  Thomas  Danquard 
and  other  experts.  Danquard  obtained  a  patent  in  1904  for  a 
device  called  the  "  flexible  finger,"  by  means  of  which  the  wippen 
of  the  piano  action  is  attached  direct  to  the  player  mechanism,  thus 
eliminating  the  harshness  of  contact  and  imparting  elasticity  with- 
out interfering  with  the  function  of  the  piano  action. 

Because  of  their  excellent  quality  a  large  number  of  piano  manu- 
facturers have  adopted  these  actions  for  their  player  pianos.  The 
Auto-Pneumatic  Action  Company  is  perhaps  the  largest  producer 
of  player  mechanism  at  the  present  time. 

The  Standard  Pneumatic  Action  Company,  the  Amphion  Com- 
pany, Ariston  Company,  Gulbransen-Dickinson  Company,  Chase 
&  Baker  Company  and  Simplex  Piano-Player  Company  are  also 
making  history  for  the  player  piano. 

Among  the  phenomenal  successes  of  latter  days,  the  firm  of 
Kohler  &  Campbell  stands  pre-eminent.  Beginning  with  a  small 
capital  in  1896,  this  firm  has  placed  over  120,000  pianos  on  the 
market  within  14  years. 

John  Calvin  Campbell,  born  at  Newark,  N.  J.,  in  1864,  was 
a  mechanical  genius.  After  serving  his  apprenticeship  as  a 
machinist,  he  turned  to  construction,  and  invented  several  useful 
wood  and  iron  working  machines.  In  1890  he  took  up  piano  mak- 
ing and  made  a  scientific  study  of  piano  construction.  He  was 
so  successful  that  his  pianos  were  at  once  accepted  by  the  whole- 
sale trade  as  of  splendid  commercial  value,  and  he  saw  his  firm 
rise  to  unexpected  magnitude.    He  died  in  1908. 

To  his  surviving  partner,  Charles  Kohler,  the  credit  is  due  of 
organizing  the  great  business  in  such  a  manner  as  to  keep  pace 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


335 


with  the  demand  for  their 
pianos.  Born  at  Newark, 
N.  J.,  in  1868,  he  attended 
the  public  school  and  studied 
for  one  year  at  Princeton 
College.  At  the  age  of  20 
he  turned  to  piano  making. 
Establishing  the  firm  of 
Kohler  &  Campbell,  he  found 
opportunity  to  display  his 
remarkable  talent  as  a  fac- 
tory organizer  and  business 
man.  Supplementing  Camp- 
bell's ingenious  construction 
with  thorough  workmanship 
in  all  details  of  the  piano,  he 
made  advantageous  use  of 
modern  methods  in  manufac- 
turing and  produced  a  fine  piano,  which  he  could  offer  at  tempting 
prices  to  large  distributors.  The  remarkable  fact  is  to  be  recorded 
that  among  his  largest  customers  are  piano  manufacturers  of  note 
who  carry  the  Kohler  &  Campbell  pianos  in  their  various  retail 
warerooms. 

Naturally  modest  and  of  a  retiring  disposition,  Kohler  has  not 
been  active  in  any  of  the  general  trade  movements,  but  that  he  will 
be  called  upon  to  take  his  part  in  time  to  come  is  warranted  by 
the  record  which  he  has  made. 

The  American  Piano  Company  of  New  York,  incorporated  in 
June,  1908,  is  another  of  the  modern  combinations  of  large  estab- 
lishments. Capitalized  at  $12,000,000,  it  controls  the  factories  of 
Chickering  &  Sons,  in  Boston;  William  Knabe  &  Company,  in 
Baltimore;  Haines  Brothers,  Marshall  &  Wendell,  Foster  &  Com- 


John  C.  Campbell 


336  PIANOS  AND  THEIR  MAKERS 

pany,  Armstrong,  Brewster  and  J.  B.  Cook  companies,  located  at 
Rochester,  N.  Y.  C.  H.  W.  Foster  of  Cliickering  &  Sons  is  presi- 
dent of  this  company,  with  George  C.  Foster,  George  L.  Eaton, 
Charles  H.  Eddy  and  William  B.  Armstrong  as  vice-presidents. 
While  maintaining  retail  warerooms  at  New  York,  Boston,  Balti- 
more and  Washington,  this  company  distributes  its  products  else- 
where through  dealers  exclusively. 

The  house  of  Wing  &  Son,  New  York,  was  founded  in  1868  by 
Luman  B.  Wing,  as  partner  in  the  firm  of  Doane,  Wing  &  Cushing. 
Luman  B.  Wing  died  in  1873,  and  was  succeeded  by  his  son,  Frank 
L.  Wing,  who  admitted  R.  Delano  Wing  (his  son)  to  partnership  in 
1905.  This  firm  is  probably  the  pioneer  of  the  mail-order  busi- 
ness in  pianos.  Building  a  reliable  instrument,  the  concern  has 
met  with  uninterrupted  success  during  the  43  years  of  its 
existence. 

New  York  is  proud  of  such  names  as  Kranich  &  Bach,  Strich  & 
Zeidler,  Mehlin  &  Sons,  Belir  Brothers,  Lauter  (of  Newark), 
Wissner,  Stultz  &  Bauer,  Ludwig  &  Company,  Pease  Piano  Com- 
pany, Winter  &  Company  and  others  who  are  making  history  as 
manufacturers  of  meritorious  pianos. 

Philadelphia  has,  besides  the  time-honored  Schomacker,  the 
Blasius,  the  Lester  and  the  Cunningham  Piano  companies — all  of 
whom  are  as  true  to  the  traditions  of  honest  values  in  pianos  as 
any  the  old  Quaker  City  has  ever  produced. 

Among  the  firms  who  have  done  much  to  keep  Boston  to  the 
front  is  the  Henry  F.  Miller  &  Sons  Piano  Company.  Henry  F. 
Miller,  born  at  Providence,  R.  I.,  on  September  25,  1825,  was  edu- 
cated as  a  musician  and  acquired  a  reputation  especially  as  an 
organist.  His  commercial  inclination  prompted  him,  however,  to 
accept  an  offer  of  the  Boston  piano  makers,  Brown  &  Allen,  to  join 
their  forces  in  1850.    After  studying  with  this  concern  for  seven 


MEX  WHO  HAVE  MADE  PIANO  HISTORY 


3;'n 


years,  he  accepted  a  more 
promising  position  with  en- 
terprising Emerson,  and  in 
1863  started,  in  connection 
with  J.  H.  Gibson,  who  was 
an  expert  scale  draughts- 
man and  constructor,  to 
make  the  "  Miller  "  piano. 
Success  followed  his  efforts, 
and  in  course  of  time  he 
admitted  his  five  sons  to 
partnership,  incorporating 
finally  under  the  name  of 
Henry  F.  Miller  &  Sons 
Piano  Company,  He  died  on 
August  -1-,  1884,  at  Wakefield. 
His  sons  took  up  the  work 
of  their  father  under  the  leadership  of  Henry  F.  ]\[iller,  Jr.,  con- 
tinually improving  their  product  so  that  many  of  the  greatest 
virtuosos  are  using  the  Miller  grand  pianos  in  their  concert  work. 
Besides  paying  proper  attention  to  the  development  of  the  musical 
character  of  their  instruments,  Miller  &  Sons  were  among  the 
first  and  most  persistent  advocates  of  architecturally  correct 
designs  for  piano  cases,  and  achieved  marked  success  in  that  direc- 
tion as  well. 

Aside  from  the  many  illustrious  names  founded  many  years 
ago,  Boston  can  ])roudly  point  to  younger  firms,  who  l)y  sui)erior 
merit  of  their  i)roduction  are  adding  new  luster  to  its  fame  as  a 
piano-producing  center  of  the  highest  order.  It  was  in  188,3  that 
Frank  A.  Lee  joined  the  John  Church  Com]^any  of  Cincinnati, 
and  in  November  of  that  year  the  Everett  Piano  Company  was 


IJeiuv  F.  Miller 


338 


PIANOS  AND  THEIR  MAKERS 


started    in    Boston    through 
his  efforts.    The  name  Ever- 
ett  was   chosen   by   Church 
because    of    its    euphonious 
clearness,  which  makes  it  as 
easy   to   remember   as   it   is 
easy  to  spell.     John  Church 
and  the  other  associates  of 
Lee,  having  been  piano  deal- 
ers for  many  years,  started 
out   to   build   a    commercial 
piano,  but  as  soon  as  Lee  be- 
came  president   of  the   Ev- 
erett    Piano     Companj^    he 
changed  that  policy  and  be- 
gan to  make  pianos  of  the 
highest  order.    It  took  years 
of   perseverance,   and   often 
discouraging  trials,  to  obtain  for  the  Everett  piano  that  recog- 
nition as  an  artistic  piano  which  it  deserved.    Lee  never  lost  faith 
in  its  ultimate  success,  and  through  his  determination,  ably  as- 
sisted by  the  artistry  of  his  superintendent,  John  Anderson,  he 
finally  had  the  satisfaction  of  seeing  his  concert  grands  used  by 
Eeisenauer,  Dr.  Neitzel,  Chaminade,  Carreno  and  other  leading 
virtuosos,  and  the  Everett  pianos  admitted  among  the  selected 
leaders  of  the  world's  pianodom. 

The  John  Church  Company  also  controls  the  Harvard  Piano 
Company  of  Dayton,  Ky.,  and,  with  its  large  catalogue  as  music 
publishers,  is  a  great  factor  in  the  music  world.  Frank  A.  Lee,  as 
president,  has  guided  the  destiny  of  this  great  company  since  1894. 
The  Ivers  &  Pond,  Briggs,  Merrill,  Hume,  Jewett  and  Poole 
Comj^anies,  Theodore  J.  Kraft  and  others  are  maintaining  the  tradi- 


MEN  WHO  HAVE  MADE  PLVXO  HISTORY 


OOQ 


tions  of  famous  Boston  mak- 
ers and  assisting  creditably 
in  making  history  for  the 
future. 

Turning  to  the  West,  we 
encounter  a  galaxy  of  bril- 
liant men  to  whose  excep- 
tional talents,  business  acu- 
men, shrewdness  and  cour- 
ageous farsightedness  the 
unparalleled  development  of 
the  industry  in  that  part  of 
the  country  must  be  ascribed. 
The  most  prominent  figure 
was  William  Wallace  Kim- 
ball. Descending  from  good 
old  English  stock,  Kimball 
was  born  on  a  farm  in  Oxford 

County,  Maine,  in  1828.  After  })assing  through  the  high  school 
he  practiced  teaching  for  a  while,  but  soon  became  a  commercial 
traveler.  In  his  wanderings  he  came  to  Chicago,  and  was  so 
impressed  with  the  future  i)ossil)ilities  of  the  little  city  that  he 
made  it  his  home  and  established  himself  as  a  piano  dealer  in 
1857.  He  sold  the  Chickering,  Hal  let  &  Davis  and  Emerson  pianos 
largely  in  his  early  days.  AVlien  Joseph  P.  Hale  introduced  his 
commercial  piano,  Kim1)all  took  hold  of  it  with  such  energy  that 
he  soon  became  the  largest  ])iano  dealer  in  the  West,  The  great 
Chicago  fire  of  1871  did  not  sjiare  Kimball's  warerooms,  which 
were  entirely  destroyed.  Kimball  immediately  ordered  a  new  stock 
of  pianos  from  liis  manufacturers,  turning  his  home  into  an  office 
and  the  barn  into  a  piano  wareroom  until  he  could  find  new  ([uar- 


340 


PIANOS  AND  THEIR  MAKERS 


tei's  iu  the  business  center  of 
the  city.  In  what  high  es- 
teem Kimball  was  held  by 
the  people  of  whom  he 
bought  is  shown  by  the  fact 
that  Hale,  of  New  York,  tele- 
graphed him  on  the  day  of 
the  fire,  "  You  can  draw  on 
me  at  once  for  $100,000." 
Hale  appreciated  the  good 
customer  and  demonstrated 
unlimited  faith  in  Kimball's 
integrity. 

A  born  organizer,  Kim- 
ball outgrew  the  limited 
sphere  of  the  local  piano 
dealer.  He  branched  out  and 
became  a  jobber  on  a  large 
scale.  Among  his  first  employees  was  a  lank  and  lean  farm- 
er's boy  from  Wisconsin,  who  showed  such  aptness  for  the 
business  that  he  soon  became  Kimball's  right-hand  man.  Edwin 
Stapleton  Conway  was  just  the  man  to  carry  out  Kimball's  far- 
reaching  plans.  The  west  being  sparsely  settled  in  those  days, 
but  rapidly  filling  up  with  a  splendid  class  of  wealth-producing 
farmers,  pianos  were  not  in  great  demand.  Kimball  resolved  to 
bring  the  pianos  to  the  farmer's  door.  He  made  Conway  the 
general  field  organizer,  whose  duty  it  was  to  travel  from  place 
to  place  and  select  in  each  town  the  brightest  young  fellow  who 
could  be  trusted  with  consignments  of  organs  and  pianos,  which 
he  was  to  sell  to  the  farmers  of  his  neighborhood.  Conway's 
personality,  his  energy,  power  of  persuasion  and  convincing  man- 


MEX  WHO  HAVE  MADE  PIAXO  HISTORY 


:ui 


ners  fitted  him  excellently 
for  that  work,  and  many  a 
l)rosperons  dealer  of  the  mid- 
dle west  proudly  calls  hhn- 
self  to-day  a ' '  Conway  Boy, ' ' 
meaning  that  he  was  induced 
by  Conway  to  enter  the  field 
and  profited  by  Conway's 
coaching.  Pretty  soon  Kim- 
ball had  a  net  of  agencies 
covering  the  entire  western 
country  and  the  proceeds  of 
his  yearly  sales  of  pianos 
and  organs  ran  into  the  mil- 
lions of  dollars. 

Bright  and  early,  on  a 
spring  morning,  Conway 
blew  into  the  author's  office, 
in  Xew  York,  explaining  in  a 

few  words  that  he  had  finally  convinced  the  "  Governor  "  of  the  ne- 
cessity of  making  his  own  organs  at  Chicago,  and  now  wanted  all 
the  information  he  could  get,  in  order  to  buy  material.  Kimball 
had  resolved  to  climb  a  step  higher  and  become  a  manufacturer. 
Success  was  a  foregone  conclusion,  because  he  controlled  the  outlet 
of  thousands  of  organs,  and  even  his  ])iano  sales  at  that  time 
exceeded  the  imposing  number  of  4,000  })er  year.  AYlien  the 
organ  manufacturing  was  well  under  way,  he  started  in  1882  his 
]>iano  factory.  At  stated  before,  Kimball  was  a  born  organizer. 
AVitli  unerring  eye  he  always  understood  how  to  ])ick  the  right 
man  for  the  right  ])lace.and  to  keep  him  there.  AVhon  his  manu- 
facturing department  assumed  greater  proportions  he   sent  for 


Edwin  S.  Conway 


542 


PIANOS  AND  THEIR  MAKEES 


his  nephew,  AV.  Liifkin,  and 
charged  him  with  the  man- 
agement thereof,  although 
Lnfkin  had,  np  to  that  time, 
never  been  inside  of  a  piano 
or  organ  factory.  Kimball 
was  original  in  all  that  he 
did.  He  reasoned  that,  for 
the  management  of  sncli  big 
factories  as  he  contemplated, 
a  man  bronght  np  at  the 
work-bench  or  at  an  office 
desk  wonld  have  too  narrow 
a  vision.  He  wanted  a  man 
who  wonld  jnst  as  readily 
plan  to  make  30,000  instru- 
w.  ].ufkiii  ments  a  year  as  5,000.    Lnf- 

kin was  that  man.  He  made  the  first  5,000  pianos,  and  is 
turning  out  30,000  instruments  per  year  now,  including  most 
imposing  church  organs.  Without  a  doubt,  the  Kimball  factories 
stand  without  a  parallel.  Not  only  are  they  producing  all  parts 
of  the  piano,  from  the  case  up,  including  iron  plates,  actions  and 
keys,  but  since  1904  the  entire  mechanism  of  the  player  piano  has 
been  also  made  there,  including  the  music  rolls.  To  the  small 
parlor  organ,  the  building  of  church  organs  was  added  in  1890. 
Kimball  reversed  the  order  of  things.  Two  hundred  years  ago 
the  church-organ  builders  made  pianos  as  a  side  issue,  Kim- 
ball, evolving  from  a  small  retail  dealer  to  the  largest  piano 
manufacturer  iu  the  world,  became  a  church-organ  builder  as 
well. 

Kimball,  not  so  bold  as  Conway,  listened  carefully  to  the  lat- 
ter's  aggressive  plans,  worked  them  down  to  the  line  of  safe  pos- 


MEX  WHO  HAVE  MADE  PIAXO  HISTORY 


343 


sibility  and  then  cliarged 
Lufkin  with  making  the 
goods  which  Conway  had  to 
sell.  A  splendid  trio,  with  a 
most  able  leader,  and  hence 
the  unparalleled  success. 
Kimball  saw  his  business 
grow  to  an  institution  witli  a 
turnover  of  over  $4,000,000 
per  annum.  He  died  on  De- 
cember 15,  1904.  The  corpo- 
ration is  continued  with  C. 
N.  Kimball  as  president,  E. 
S.  Conway,  vice-president, 
and  AV.  Lufkin,  treasurer. 

H.  D.  Cable,  born  at  Wal- 
ton, X.  Y.,  in  1849,  spent  his 
early  days  on  a  farm.    After 

attending  the  Walton  Academy,  he  turned  to  teaching,  with 
such  success  that  at  the  age  of  17  he  was  elected  principal 
of  the  schools  at  Easton,  Pa.,  and  a  year  later  appointed 
superintendent  of  schools  at  Williamsport,  Pa.  In  1869  the  pub- 
lishing house  of  Barnes  &:  Company  sent  him  to  Chicago  as  man- 
ager of  their  western  department,  and  for  11  years  Cable  filled  that 
responsible  position  with  great  success  and  fidelity.  In  1880  he 
formed  a  partnershi})  with  the  organ  builder,  F.  P.  Wolfinger, 
organizing  the  Wolfinger  Organ  Company,  which  was  changed  to 
the  Western  Cottage  Organ  Company,  and  later  on  to  the  Chicago 
Cottage  Organ  Company. 

Cable  applied  the  methods  used  in  selling  books,  as  far  as  pos- 
sible, to  the  organ  and  piano  business,  with  amazing  success.    Like 


]U 


PIANOS  AND  THEIR  MAKERS 


Kimball,  lie  was  a  born  or- 
ganizer and  an  excellent 
judge  of  men  and  their  abili- 
ties. The  training  which  he 
had  enjoyed  in  the  book- 
selling business  impelled  him 
to  introduce  system  in  his 
manufacturing  and  selling 
organization,  with  all  that 
this  word  implies  in  modern 
business  management,  and 
[perhaps  he  was  the  first  in 
the  piano  industry  to  profit 
by  the  application  of  scien- 
tific accounting.  At  all 
events,  his  success  was  so 
rapid,  and  his  business  as- 
sumed such  immense  propor- 
tions, that  it  became  the  wonder  of  his  contemporaries. 

Of  an  exceedingly  nervous  temperament,  Cable  was  not  only 
a  rapid  thinker,  but  also  a  worker  of  extraordinary  capacity.  Him- 
self the  soul  of  honor  and  integrity,  he  treated  everybody  on  that 
basis,  and  his  keen  judgment  assisted  his  intuition  in  making  bold 
moves  on  the  chessboard  of  trade  with  advantageous  results. 
Starting  out  in  his  enterprises  b}"  catering  to  the  demands  of  the 
masses,  he  aimed  for  the  highest  in  his  piano  production,  and  in 
1890  he  consolidated  the  business  of  Conover  Brothers,  of  New 
York,  with  his  own,  securing  at  the  same  time  the  valuable  assist- 
ance of  that  eminent  piano  constructor,  J.  Frank  Conover,  for  the 
manufacture  of  the  Conover  ])iaiio.  As  his  business  assumed 
larger  proportions,  he  called  his  brothers,  Hobart  M.  and  Fayette 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


S.  Cable,  to  his  aid,  and,  al- 
though he  had  surrounded 
himself  with  a  number  of 
able  men,  his  close  personal 
application  to  the  complex- 
ities of  his  large  business 
finally  undermined  his  con- 
stitution and  he  died  pre- 
maturely on  March  2,  1899, 
at  the  age  of  50. 

The  business,  having 
been  incorporated,  has  been 
continued,  but  the  name  of 
the  company  was  changed  to 
the  Cable  Company,  in 
honor  of  the  founder.  F.  S. 
Cable  served  as  president 
until  1903,  when  he  started 
in  business  on  his  own  account.  He  was  succeeded  by  F.  S. 
Shaw,  under  whose  able  management  the  company  largely  ex- 
tended its  activities,  adding  a  department  for  player  pianos, 
and  paying  careful  attention  to  the  development  of  the  artistic 
Conover  piano,  preparing  for  the  introduction  of  the  same  on  the 
concert  platform.  In  the  short  space  of  20  years  the  Cable  Com- 
pany has  attained  a  position  as  one  of  the  great  leaders  of  the 
western  continent,  and  the  genius  of  II.  D.  Cable  has  shown  to 
contemporaries  the  great  possibilities  of  the  piano  business  in  its 
legitimate  channels. 

Lucien  Wulsin,  born  in  Louisiana  in  1845,  came  with  his  fa- 
ther's family  to  Cincinnati  in  his  early  childhood.  He  went 
through  the  Cincinnati  public  school  and  i)art  of  the  high  school. 
At  the  age  of  19  he  enlisted  with  the  Union  army,  at  first  serving 


346  PIANOS  AND  THEIR  MAKERS 

in  a  Kentucky  infantry  battalion,  and  from  January,  1864,  until  the 
end  of  the  war,  in  the  Fourth  Ohio  Cavalry.  In  March,  1866,  he 
entered  the  employ  of  D.  H.  Baldwin,  a  music  teacher,  who  was 
selling  the  Decker  Brothers '  pianos  in  Cincinnati.  Wulsin  started 
in  as  a  clerk,  bookkeeper  and  general  factotum,  and  made  himself 
so  useful  that  he  was  admitted  to  partnership  in  1873,  the  firm 
name  becoming  D.  H.  Baldwin  &  Company. 

An  era  of  expansion  and  larger  activity  was  inaugurated.  As 
the  first  move,  a  branch  store  was  opened  at  Indianapolis.  In 
1878  the  Louisville  branch  was  started  under  the  management  of 
E.  A.  Johnston,  who  was  made  a  partner  in  1880.  After  John- 
ston's death  in  1882,  George  ^Y.  Armstrong,  Jr.,  Clarence  Wulsin 
and  A.  A.  Van  Buren,  who  had  been  employed  by  the  firm  for  a 
number  of  years,  became  partners.  With  the  growth  of  the  busi- 
ness the  necessity  of  manufacturing  became  more  and  more  ap- 
parent, and  in  1889  the  Hamilton  Organ  Company  was  organized 
as  a  subsidiary  concern  for  the  making  of  organs— the  Baldwin 
Piano  Company,  Valley  Gem  Piano  Company  and  Ellington  Piano 
Company  soon  following.  Later  on  the  Hamilton  Piano  Com- 
23any  was  formed,  and  the  firm  of  D.  H.  Baldwin  &  Company 
changed  into  a  corporation  under  the  title  of  The  Baldwin 
Company,  the  latter  controlling  all  the  above  subsidiary  com- 
panies. 

D.  H.  Baldwin  died  in  1899,  leaving  the  bulk  of  his  estate  for 
missionary  purposes.  Ordinarily  this  would  have  meant  the  wind- 
ing up  of  the  business,  in  order  to  pay  out  the  large  amount  which 
represented  Baldwin's  interest,  but  AVulsin  did  not  propose  to 
have  the  work  of  his  life  destroyed  through  an  act  of  the  man 
whom  he  had  made  wealthy  by  his  33  years  of  faithful  devotion. 
Together  with  Armstrong  he  arranged  to  buy  all  the  stock  of  the 
Baldwin  estate  and  of  the  only  remaining  partner,  A.  A.  Van 
Buren. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  347 

Freed  from  all  interference,  the  two  partners  set  to  work  to 
develop  the  business  to  its  fullest  possibilities.  They  were  an 
excellent  team.  AVulsin,  the  man  of  ideas  and  business  foresight, 
enthusiastically  believing  in  the  progress  of  the  American  people 
and  the  perpetual  growth  of  the  nation,  planned  the  ultimate  ex- 
pansion. Armstrong,  the  mathematician  and  man  of  figures, 
worked  out  the  details  of  the  plans  to  never-failing  exactness.  As 
a  matter  of  good  business  policy,  stress  was  laid  in  the  beginning 
upon  the  commercial — the  money-making — part  of  the  business, 
with  proper  regard  for  the  building  up  of  a  rejmtation  for  reliable 
goods,  but  just  as  soon  as  an  efficient  number  of  artisans  had  been 
trained,  under  the  guidance  of  Superintendent  Macy,  the  develop- 
ment of  the  artistic  Baldwin  })iano  was  taken  in  hand  with  avidity 
and  with  corresponding  success. 

Lucien  Wulsin's  inborn  love  for  the  noble  and  beautiful  is 
stamped  upon  every  part  of  the  great  institution.  The  factories, 
located  opposite  beautiful  Eden  Park,  at  Cincinnati,  are  models  of 
decorative  architecture.  Instead  of  imprisoning  his  men  between 
four  plain  brick  walls,  Wulsin  engaged  an  architect  to  design  his 
factories,  with  orders  to  combine  the  beautiful  with  the  practical, 
paying  attention  to  hygienic  improvements.  Always  kept  scrupu- 
lously clean,  the  workrooms  in  the  Baldwin  factory  impress  the 
visitor  much  more  as  artists'  ateliers  than  as  piano  makers'  work- 
shops. The  walls  of  the  spacious  offices  are  decorated  with  pictures 
of  Greek  and  Roman  structures  of  architectural  beauty,  to  train 
the  eyes  of  the  workman  for  pro|)er  and  correct  forms ;  flower-l)eds 
surround  the  factories  and  living  flowers  are  to  be  found  at  the 
factory  windows.  An  air  of  refinement  permeates  the  entire  estab- 
lishment and  gentlemanly  behavior  is  a  characteristic  of  the  Bald- 
win employees. 

The  sound  policy  underlying  the  management  of  this  great 
business  is  best  described  in  AVulsin's  own  words,  which  he  used 


348 


PIANOS  AND  THEIR  MAKERS 


in  a  letter  to  the  author:  "  I 
realize  that  the  welfare  of 
our  company  and  the  success 
of  its  people  will  come  from 
a  fair  treatment  of  all  our 
men  and  the  awakening  in 
them  of  the  ideals  and  en- 
thusiasm which,  after  all,  do 
exist  in  the  average  human 
being. ' ' 

It  is  not  to  be  won- 
dered at  that  the  Baldwin 
pianos  carried  off  the  high- 
est prizes,  wherever  ex- 
hibited, gaining  even  that 
much-coveted  distinction,  the 
Grand  Prix  at  the  Paris  Exposition  of  1900.  Nor  does  it  require 
an  explanation  why  Pugno  exclaims,  ' '  The  Baldwin  tone  is  bound- 
less; you  can't  get  to  the  bottom  of  it — can't  pound  it  out,"  and 
when,  on  the  other  hand,  aesthetic  de  Pachmann  whispers  his  en- 
chanting Chopin  pianissimo  passages  on  that  same  piano.  The 
Baldwin  piano  is  an  art  product,  made  by  artists  who  are  living 
and  working  in  an  artistic  atmosphere,  because  the  man  who  created 
the  Baldwin  institution  is  an  idealist.  Lucien  Wulsin  was  deco- 
rated with  the  Cross  of  the  Legion  of  Honor  at  the  Paris  Exposi- 
tion of  1900. 

As  far  back  as  1849  an  Alsatian  by  the  name  of  Trayser  made 
pianos  and  melodeons  in  Indianapolis.  Drifting  about  the  country, 
he  came  to  Ripley,  Ohio,  in  1869,  where  he  started  a  piano  factory, 
which  was  removed  to  Richmond,  Ind.,  in  1872,  when  James  S. 
and  Benjamin  Starr  acquired  an  interest  in  the  concern.     In  1878 


iiciijainin  Starr 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


340 


Trayser  retired,  and  Milo  J. 

diase  entered  the  firm,  the 

name  of  wliich  was  changed 

to    the    Chase    Piano    Com- 

l)any.     In    1884    the    Starr 

Brothers  obtained  control  of 

the    business    and    changed 

the  name  to  the  Starr  Piano 

C'ompany,     with     Benjamin 

Starr    as    manager.     Upon 

tlie     retirement     of     James 

Starr,    Henry    Gennett    and 

associates    obtained    control 

of   the   com])any   and  began 

a     campaign     of     exi)ansion 

which  has  made  the  concern 

one    of    the    leaders    of    the 

middle   west.     Gennett   assumed    the    business   management   and 

opened   distributing   warerooms    in    many   leading   cities  of   the 

western  and  southern  States.    Benjamin  Starr  superintended  the 

factories,  ably  assisted  by  Harry  Gennett.    The  business  assumed 

immense  proportions  under  the  guidance  of  Henry  Gennett,  while 

his  son  Harry  developed  into  a  good  i)iano  constructor,  who  has 

done  excellent  work  in  improving  the  Starr  piano  and  |)romises 

more  as  a  piano  maker  for  the  future.     Benjamin  Starr  died  in 

1903,  having  had  the  satisfaction  of  seeing  the  small  factory  with 

which  he  started  grow  to  an  establishment  producing  annually 

about    18,000   pianos    of   a    quality    above    the    ordinary   market 

instrument.      It    is    the    laudable    ambition    of    Harry    Gennett 

to   see   in   the   near   future    the    Starr    concert   grand,    designed 

and  constructed  by  him,  used  by  artists  of  note  in  their  public 

concerts. 


Henrv  Gennett 


350 


PIANOS  AND  THEIR  MAKERS 


In  tlio  romantic  vales  of 
Bnnifort,  Connty  of  Cork, 
Ireland,  a  boy  was  born  on 
March  17,  1840,  to  farmer 
Healy,  the  thirteenth  child 
of  a  poor  but  happy  family. 
The  boy  was  christened 
Patrick  Joseph.  When  the 
good  "  onld  sod  "  would  not 
yield  enough  to  support  the 
growing  family,  Healy  sen- 
ior packed  up  his  worldly 
goods  and  took  his  family 
to  the  land  of  promise  and 
possibilities.  Patrick  Joseph 
was  10  years  of  age  when 
he  landed  in  Boston.  At- 
tending the  public  schools, 
he  had  an  eye  for  earning  money,  and  we  find  him  working  the  bel- 
lows of  a  great  church  organ  for  the  organist,  Bancroft.  This  man 
became  interested  in  the  Irish  lad,  and  when  Healy  had  finished 
his  school  course  Bancroft  secured  for  him  a  position  as  errand 
boy  with  the  music  dealer,  George  P.  Reed.  The  errand  boy  soon 
advanced  to  be  a  clerk,  and  we  next  find  him  in  a  responsible  posi- 
tion in  the  great  music  publishing  house  of  Oliver  Ditson  & 
Company. 

Ditson  had  a  keen  perception  of  the  possibilities  in  the  rapidly 
developing  cities  of  the  west  and  i)lanned  the  establishment  of 
branch  houses  at  Cincinnati,  St.  Louis,  Chicago  and  San  Fran- 
cisco. He  gave  Healy  the  choice  of  either  of  the  three  last  named. 
After  visiting  St.  Louis  and  Chicago,  Healy  wisely  decided  for 
the  latter,  and  in  1864  the  firm  of  Lyon  &  Healy  was  established 


MEN  WHO  HAVE  MADE  PIANO  HISTORY         351 

under  the  protection  of  the  parent  house  of  Oliver  Ditson  &  Com- 
pany. To  encourage  the  young  men,  Ditson  predicted  that  they 
would  do  a  business  of  $100,000  per  year  within  10  years.  Healy 
reported  sales  of  over  that  amount  before  the  first  12  months  had 
passed !  The  piano  trade  of  xVmerica  has  produced  a  large  number 
of  "  great  workers,"  but  it  is  the  ojjinion  of  all  who  knew  him 
that  Healy  outworked  them  all.  The  great  results  achieved  by 
him  are,  however,  due  not  only  to  the  amount  of  work  which  he 
performed,  but  largely  to  the  systematic  methods  he  applied. 

The  author  will  ever  remember  Healy 's  first  visit  to  his  New 
York  office.  After  the  usual  greeting,  and  every-day  question, 
"  How  is  business  with  you?  "  Healy  pulled  out  of  his  pocket  a 
small  black  note-book  and  read  off  statistics  as  to  how  many  letters 
had  been  received  daily  by  his  firm  during  the  past  month  as  com- 
pared to  the  same  month  of  one,  two  and  three  years  before.  The 
methodical  statistician,  the  mind  which  from  the  small  detail  could 
construct  a  prognostication  of  the  future,  was  thus  displayed.  It 
was  the  key  to  Healy 's  great  achievements.  Nervously  working  at 
the  store  during  the  daytime,  he  would  take  memoranda  of 
the  day's  doings  to  his  home  and  there  work  out  statistics  to 
guide  him  in  his  bold  undertakings.  Those  who  wondered  at 
Healy 's  positive,  unfaltering  aggressiveness  did  not  know  how  well 
he  had  fortified  himself  with  unfailing  figures  and  facts,  gathered 
from  his  comparative  statistics,  proving  the  correctness  of  liis 
conclusions.  Thus  Healy  was  able  to  accomplish  more  in  one 
lifetime  than  would  ordinarily  be  ^jossible  for  the  combined  efforts 
of  several  business  men. 

However,  searching  for  the  main  cause  of  the  success  of  the 
man  who  built  the  greatest  nuisic  house  in  the  world,  we  find  it 
in  the  character  of  P.  J.  Healy.  Although  exacting  to  a  degree, 
his  sympathetic  character  enabled  him  to  draw  from  his  employees 
the  best  that  was  within  them  in  a  manner  which  made  all  of  his 


352 


PIANOS  AND  THEIR  MAKERS 


young  men  enthusiastic 
workers  for  the  success  of 
the  firm.  Just  and  fair  un- 
der all  conditions,  he  dis- 
played a  sincere  solicitude 
for  all  who  worked  with  him. 
Like  all  leaders,  he  had  the 
faculty  of  picking  the  right 
man  and  putting  him  into  the 
right  place. '  As  Kimball 
found  his  Conway,  so  Healy 
discovered  in  another  Wis- 
consin farmer's  boy  the  qual- 
ities which  only  need  oppor- 
tunity for  developing  into 
the  making  of  a  strong  man. 
Charles  N.  Post  entered  the 
employ  of  Lyon  &  Healy  as  a 
bookkeei)er  in  1864,  when  16  years  of  age.  He  grew  up  to  be  Healy 's 
right-hand  man,  and  when  the  business  had  outgrown  the 
sphere  of  merely  dealing  in  musical  merchandise,  and  the 
manufacturing  of  instruments  became  a  necessity,  young  Post 
was  charged  with  the  responsibility  of  managing  that  depart- 
ment. 

After  success  was  secured  in  the  making  of  guitars,  mandolins, 
etc.,  Healy 's  ambition  was  to  build  an  instrument  of  the  higher 
order.  Although  the  Erard  harp  was  at  that  time  considered  to 
be  perfection,  Healy  knew  from  experience  that  even  that  renowned 
make  was  not  satisfactory,  and  he  charged  Post  with  the  work  of 
l)roduciug  a  harp  which  would  be  acceptable  to  the  artists  as  supe- 
rior to  the  Erard.  Post  engaged  the  services  of  George  B.  Durkee, 
an  inventor  of  note,  and  the  two  men  set  to  work  to  construct  a 


Lyon  &  Healy  Harp 


MEX  WHO  HAVE  ^lAUF.  PIAXO  HISTORY  353 

harp  wliieli  made  the  name  of  Lyon  &  Healy  famous  wherever 
orchestra  music  is  played.  Diirkee  went  at  liis  ])roblem  with  a 
well-trained  scientific  mind  and  succeeded  in  constructing  a 
mechanism  which  did  away  with  the  irritating  "  buzzing  "  so 
common  to  the  ordinary  liar}).  He  further  develoi)ed  a  scale  so 
perfect  as  to  make  the  i)laying-  of  the  instrument  much  easier.  By 
enlarging  the  soundboard  he  furthermore  increased  the  volume  of 
tone  perceptibly.  The  first  harp  was  turned  out  in  188<),  and 
Healy  had  the  satisfaction  of  seeing  his  instruments  accepted  by 
the  Gewandhaus  orchestra  of  Leipsic,  and  by  nearly  all  the  leading 
orchestras  of  Berlin,  Vienna,  Stuttgart,  St.  Petersburg,  New  York, 
Boston,  Chicago,  etc. 

The  building  of  church  organs  was  the  next  addition  to  the 
manufacturing  department,  which  had  grown  to  such  magnitude 
that  in  the  year  1890  over  100,000  instruments  were  turned  out. 
The  business,  started  in  1864  in  a  modest  manner,  had  steadily 
grown  until  it  was  known  all  over  the  globe  as  the  greatest  estab- 
lishment of  its  kind.  When  Lyon  retired  from  the  firm  in  1890, 
the  cori)orate  form  was  adopted,  with  P.  J.  Healy  as  president, 
Charles  X.  Post,  vice-president,  and  Robert  B.  Gregory,  treasurer. 
The  concern  continued  in  its  onward  march  under  Healy 's  inspir- 
ing leadership,  extending  its  influence  in  all  directions,  but  Healy 
had  to  pay  the  penalty  for  drawing  to  excess  on  nature's  limita- 
tions. He  died  on  April  5,  1905,  at  the  age  of  65,  mourned  by  all 
who  knew  him,  honored  by  the  members  of  the  trade  with  the 
sobriquet,  ''  The  grand  old  man  of  the  music  trade,"  leaving  his 
footprints  behind  as  an  example  to  coming  generations  that  hon- 
esty of  imrpose,  application  to  duty  and  fairness  in  all  dealings 
with  fellow-men  make  life  worth  living  to  a  much  greater  degree 
than  the  mere  accumulation  of  wealth. 

Charles  X.  Post  succeeded  Healy  in  the  presidency  until  1908, 
when  he  retired  to  the  pleasant  life  of  a  gentleman  farmer,  on  his 


PIANOS  AND  THEIR  MAKERS 


ranch  in  Southern  Califor- 
nia. Healy's  fourth  son, 
Paul,  has  since  been  the  ac- 
tive head  of  the  great  corpo- 
ration, and  upon  his  instiga- 
tion the  manufacture  of 
pianos  has  been  added.  The 
factories  are  in  charge  of  his 
I'l  brother,  Mark  Healy,  who  is 
studiously  preparing  himself 
for  the  career  of  a  master 
builder  of  the  Lyon  &  Healy 
piano. 

Coming  from  a  family  of 
musical-instrument  makers 
who  pursued  that  art  for 
generations  in  the  little  town 
of  Schoneek,  Saxony,  Rudolph  Wurlitzer  landed  in  New  York  about 
1854.  His  career  was  such  as  usually  falls  to  the  lot  of  young  Ger- 
man emigrants  who  land  here  without  means,  but  endowed  with  a 
thorough  education  and  expert  knowledge  of  their  profession. 
Struggling  for  the  first  few  years  to  earn  a  living,  he  finally  found 
his  bearings  in  Cincinnati,  where  he  established  himself  as  an  im- 
porter of  musical  instruments  in  1856.  With  the  enthusiasm  and 
optimism  of  youth,  he  overcame  the  many  obstacles  and  difficulties 
facing  a  young  business  man  who  has  to  earn  his  capital,  and 
gradually  climbed  up  the  ladder  until  he  was  recognized  as  a  power 
by  his  contemporaries.  In  1890  his  eldest  son  Howard  was 
admitted  to  partnership.  By  studying  the  musical-instrument 
business  in  all  its  phases  for  several  years  in  Europe,  young 
Howard  was  well  prepared  for  his  work  and  soon  made  his  pres- 


Rudolpli  Wurlitzer 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  355 

ence  felt,  and  the  rise  of  the  house  of  Wurlitzer  to  its  pre-eminent 
position  dates  from  that  time.  Incorporating  in  1890  witli  a 
capital  of  $200,000,  as  the  Rudolph  Wurlitzer  Company,  it  has  now 
increased  its  capital  to  $1,000,000,  and  owns  the  Rudolph  Wurlitzer 
Manufacturing  Company,  also  with  a  capital  of  $1,000,000.  In 
the  course  of  time  two  other  sons,  Rudolph  H.  and  Farney  Wur- 
litzer, joined  the  concern,  each  taking  charge  of  a  department,  so 
that  at  the  fiftieth  anniversai-y,  in  1906,  Rudolph  Wurlitzer,  Sr., 
was  able  to  retire  from  active  particii)ation  and  enjoy  the  well- 
merited  rest  of  i)rivate  life.  The  AVurlitzer  Company  at  i)resent 
is  perhaps  the  largest  manufacturer  of  mechanical  instruments, 
including  player  pianos,  its  business  connections  covering  all  i)arts 
of  the  globe. 

Among  the  many  remarkable  men  who  have  made  their  mark 
in  the  development  of  the  piano  industry  of  the  west,  William  H. 
Bush  stands  out  as  one  of  those  sturdy  characters  whom  mis- 
fortune only  spurs  on  to  greater  efforts. 

Coming  from  good  old  Holland  stock,  William  Henry  Bush  was 
born  in  1829  on  a  farm  near  Baltimore,  Md.  One  of  the  first  rail- 
roads built  in  the  United  States  ran  through  the  Bush  farm  to 
the  City  of  Baltimore,  and  we  find  AVilliam  as  a  lad  of  14,  with 
remarkable  enterprise,  contracting  for  the  use  of  the  steam  engine 
and  the  one  freight  car  of  which  the  railroad  could  boast  to  carry 
his  vegetables  to  Baltimore,  so  as  to  be  the  first  in  the  marketplace. 
In  1854  he  landed  at  Chicago  and  soon  engaged  in  the  lumber  busi- 
ness, accumulating  a  fortune.  The  great  fire  of  1871  burned  up 
his  lumber  yard  and  reduced  him  again  to  the  ])oint  where  he  had 
started  17  years  before.  Success  was  his,  and  in  1886  he  started 
in  partnership  with  his  son,  AVilliam  Lincoln  Bush,  and  John 
Gerts,  under  the  firm  name  of  W.  H.  Bush  &  Company,  for  the 
manufacturing  of  pianos. 


356 


PIANOS  AND  THEIR  MAKERS 


William  L.  Bush,  born  in 
1861,  had  served  his  ap- 
prenticeship with  Geo.  H. 
Woods  &  Company  as  an  or- 
gan and  piano  maker,  and 
from  1881  to  1883  as  sales- 
man for  the  W.  W,  Kimball 
Company.  John  Gerts  had 
learned  piano  making  in  Ger- 
many, thoroughly  mastering 
all  branches  of  the  art. 

With  W.  II.  Bush  at  the 

head  as  financier,  the  concern 

prospered     from     the     very 

start,  and  was  changed  to  a 

corporation  in   1891  with  a 

paid-up  capital  of  $400,000. 

Phi lanthropically  inclined, 

the  elder  Bush  planned  to  create  for  Chicago  an  institution  which 

should  serve  music  and  the  arts,  but  before  his  well-conceived  plans 

materialized  he  passed  away  in  1901  at  the  age  of  74-. 

The  Bush  Temple  of  Music  was  started  in  1902  and  comj^leted  in 
1903,  and  stands  as  a  monument  to  the  enterprise,  energy  and  liber- 
ality of  the  Maryland  farmer  boy,  as  one  of  Chicago 's  landmarks. 
The  Conservatory  of  Music  connected  with  the  Bush  Temple 
was  founded  by  William  Lincoln  Bush  in  1901,  with  Kenneth  M. 
Bradley  as  Director  and  Mme.  Fannie  Bloomfield-Zeisler  at  the 
head  of  the  piano  department,  the  position  now  being  occupied  by 
Mme.  Julie  Rive  King.  Among  the  teachers  of  note  who  have  given 
luster  to  this  school,  the  great  violinist,  Ovide  Musin,  may  be  men- 
tioned. 


William  H.  Bush 


MEX  WHO  HAVE  MADE  PIANO  HISTORY 


357 


William  L.  Biisli,  a  tal- 
ented musician  himself,  is 
very  solicitous  for  the  last- 
ing success  of  this  music 
school,  which  has  achieved  a 
far-reaching  reputation.  He 
also  established  similar  in- 
stitutions at  Dallas,  Tex., 
and  Memphis,  Tenn.,  thus  as- 
sisting in  the  propaganda 
for  musical  development  not 
only  as  a  manufacturer  of  ex- 
cellent pianos,  but  also  as  a 
lover  of  the  art  for  art's  sake. 

The  Bush  &  Gerts  Piano 
Company  is  known  for  its 
zeal  in  upholding  and  defend- 
ing the  ethics  of  the  piano 

trade.  William  L,  Bush  is  using  his  forceful  pen  with  telling  results 
in  the  warfare  against  the  illegitimate  stencil  and  dishonestmetliods 
of  selling,  insisting  that  the  maker's  name  should  be  on  every  i)iano 
and  a  fixed  selling  price  established  by  the  maker. 

Albert  Krell,  born  at  Gelbra,  Germany,  on  September  10,  1833, 
came  to  America  in  1848  and  settled  at  Cincinnati  in  1849.  Coming 
from  a  family  of  musical-instrument  makers,  he  was  an  expert 
violin  builder,  and  started  in  business  at  the  age  of  16,  renting  a 
small  shop  in  the  rear  of  a  drug  store.  He  established  a  reputa- 
tion as  a  rei)airer  of  old  violins,  and  built  altogether  about  300 
new  instruments,  which  he  sold  at  prices  ranging  from  $150  to 
$300  apiece.  In  1889  he,  in  conjunction  with  his  sons,  Albert  and 
Alexander,  who   had   studied  piano  making  with  George   Steck, 


Albert  Krell,  Sr. 


358 


PIANOS  AND  THEIR  MAKERS 


started  a  piano  factory  un- 
der the  name  of  the  Krell 
Piano  Company.  Alexander 
died  in  1895,  and  Albert 
Krell,  Sr.,  in  1900. 

After  his  brother's  death, 
Albert,  Jr.,  retired  from  the 
company  and  organized  the 
Krell-French  Piano  Com- 
pany of  Springfield,  Ohio. 
This  concern,  after  a  disas- 
trous fire,  moved  to  New 
Castle.  Albert  Krell  re- 
signed from  this  company  in 
1905  and  started  the  Auto 
Grand  Piano  Company  of 
America  in  Connersville, 
Ind.,  making  the  manufacture  of  i)layer  pianos  a  specialty. 

Among  the  successful  }uoneer  ])iano  makers  of  the  west  Braton 
S.  Chase  has  made  his  mark.  Tracing  his  connection  with  the 
trade  back  to  1869  when  his  father  started  the  Chase  Piano  Com- 
pany at  Richmond,  Ind.,  Braton  acquired  a  thorough  and  practical 
knowledge  of  the  art  under  his  father's  tutelage. 

In  1889  he  formed  a  connection  with  C.  H.  Hackley,  the  philan- 
thropic lumber  king  of  Muskegon,  Mich.,  and  started  the  Chase- 
Hackley  Piano  Company,  for  which  enterprise  he  soon  secured 
recognition  as  one  of  the  leading  piano  producers  of  the  west, 
fully  realizing  Hackley 's  desire  to  bring  fame  to  the  City  of 
Muskegon  as  the  home  of  the  Chase  Brothers  and  Chase-Hackley 
pianos. 

Among  the  many  sturdy  and  thrifty  German  emigrants  who 
have  done  so  much  in  the  development  of  the  great  middle  west, 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


359 


Mathias  Scliulz  was  one  of 

those      typical      characters 

whose  will-power  could  not 

be  downed  by  adversity  or 

obstacles.      Born     at    War- 

bui-g,  Germany,  in  1842,  his 

mother  being  left   a  widow 

at  the  time  of  his  birth,  the 

child  had  of  necessity  to  be 

l)laced    with    relatives    until 

he   reached   the   age   of   11, 

when  he  became  entitled  to 

the  privileges  of  the  military 

orphan  asylum  ai  Potsdam 

because  of  his  late  father's 

services  as  a  soldier.    At  the 

age  of  14  he  was  apprenticed 

to    a    cabinetmaker.      Just    as     soon    as    he    had    served    his 

time    he    took    to    "  wandern  "    and    started    to    visit    his    dear 

mother.    Arriving  at  his  home  town,  he  learned  that  his  mother 

had    been    buried    two    weeks    previous.      Broken-hearted,    he 

started  on  his  journey  again,  leaving  it  to  fate  where  he  might 

land. 

Sentimentally  inclined,  young  Schulz  felt  his  lonesomeness  in- 
tensely and  resolved  to  enlist  as  a  soldier,  just  to  get  comrades 
and  companionship,  to  find  someone  who  would  take  an  interest 
in  him  and  for  whom  he  could  care.  But,  fortunately  for  him,  fate 
intervened.  The  day  before  his  ]^hysical  examination  by  the  mili- 
tary authorities  he  broke  his  shoulder-blade  and  was  not  accepted. 
With  no  prospect  for  a  military  career,  he  longed  to  go  to  America, 
and  started  for  London,  where  he  expected  to  earn  enough  money 
to  pay  his  passage  to  New  York.    He  found  work  in  a  piano  factory 


Mathias  Schulz 


360 


PIANOS  AND  THEIR  MAKEES 


and  learned  the  art  as  it  had 
then  been  developed.  After 
a  two  years'  stay  in  London 
he  sailed  for  New  York  in 
1868  and  made  his  home  in 
Chicago.  The  piano  indus- 
try being  then  in  its  infancy 
in  America,  Selmlz  returned 
to  cabinetmaking  and,  in 
partnership  with  two  col- 
leagues, started  a  shop  at 
diicngo  in  1869.  In  1876 
Selmlz  bought  out  his  part- 
ners. With  remarkable  en- 
ergy he  overcame  all  the  diffi- 
culties which  beset  a  young 
manufacturer  who  lacks  ex- 
perience as  well  as  capital,  and  his  superior  craftsmanship,  ex- 
traordinary capacity  for  work,  together  with  his  inborn  honesty 
and  integrity,  soon  brought  prosperity  and  his  business  grew 
steadily.  In  1889  it  had  assumed  such  large  proportions  that  it 
was  incorporated  under  the  name  of  M.  Schulz  Company,  with  his 
son.  Otto  Selmlz,  as  vice-president.  The  manufacturing  of  organs 
and  pianos  was  now  made  a  specialty. 

Like  many  pioneers,  Schulz  had  overtaxed  himself  in  the  at- 
tempt to  satisfy  ambition  and  passed  away  in  1899  at  the  age 
of  57. 

His  son,  Otto  Schulz,  succeeded  him  as  president.  Under  his 
aggressive  leadership  the  company  has  forced  its  way  to  the  front 
rank  of  large  producers  in  the  piano  industry.  The  business 
started  by  the  German  orphan  boy  has  grown  to  imposing  propor- 
tions, with  splendid  prospects  for  future  development. 


otto  Schulz 


MEN  WHO  HAVE  MAT)E  PIANO  HISTORY  3G1 


Born  in  Suav^ia.  about 
GO  years  a^o,  John  V.  Stogor 
inherited  all  the  characteris- 
tics peculiar  to  the  scions  of 
the  Bajuvarian  tribe.  Ener- 
getic, shrewd  and  tenacious, 
they  are  known  to  make  their 
way,  irrespective  of  sur- 
roundings or  conditions. 

At  the  age  of  17  Steger 
landed  at  Chicago  and  found 
employment  in  a  brass  foun- 
dry. Having  accumulated  a 
small  ca|)ital,  he  formed  a 
partnershi])  with  a  piano 
tuner  and  opened  a  piano 
store.  It  was  but  a  short 
time  after,  when  Steger  be- 
came sole  owner  of  the  business,  in  which  he  prospered  beyond  his 
fondest  dreams. 

Observing  how  other  piano  dealers  had  drifted  into  piano  manu- 
facturing with  great  success,  Steger  bought  out  a  small  concern 
which  owned  a  factory  near  Chicago,  and  following  the  example 
set  by  J.  P.  Hale,  commenced  to  manufacture  a  commercial  piano 
for  the  wholesale  trade.  Satisfied  with  a  comparatively  small 
margin  he  soon  created  a  large  demand  for  his  product.  Around 
the  permanently  increasing  factory  buildings  in  the  prairie,  the 
town  of  Steger  grew  up.  Ambitious  to  be  counted  among  the  lead- 
ers of  the  industry,  he  made  use  of  every  opportunity  to  enlarge 
his  business.  A  shrewd  financier  and  one  of  the  boldest  manip- 
ulators in  the  piano  trade,  Steger  accumulated  great  wealth  in  a 
comparatively  short  period  and  is  at  present  counted  among  the 


362 


PIAXOS  AND  THEIR  MAKERS 


largest  producers  of  pianos 
in  the  west. 

Among  the  pioneers  of 
the  western  piano  trade, 
Julius  Bauer  &  Company 
have  always  maintained  a 
reputation  for  producing  a 
high-grade  piano  of  merit. 
Founded  in  1857  by  Julius 
Bauer,  the  business,  since 
the  death  of  the  founder  in 
1884,  has  been  under  the  able 
management  of  his  son,  Wil- 
liam M.  Bauer. 

History  is  made  for  the 
west  by  such  names  as  Chick- 
ering  Brothers,  Bush  &  Lane, 
George  P.  Bent,  Newman 
Brothers,  the  Melville  Clark  Piano  Company,  Schumann 
Piano  Company,  Gram-Richtsteig,  Grinnell  Brothers,  the  Far- 
rand  Company — famous  for  the  manufacture  of  high-grade 
instruments. 

The  fact  that  Chicago  has,  during  the  past  decade,  become 
the  greatest  piano  market  in  the  world  is  largely  due  to  the  energy 
and  enterprise  of  firms  like  Smith,  Barnes  &  Strohber  Company, 
Price  &  Teeple,  Hobart  ^l.  Cable  Company,  Schaeffer  Piano  Mfg. 
Company,  Cable-Nelson  Piano  Company,  Adam  Schaaf,  Schiller 
Piano  Company,  the  Haddorff  Piano  Company,  the  Straube  Piano 
Company,  P.  A.  Starck  Company,  Arthur  P.  King,  H.  P.  Nelson 
Company,  and  others,  who  manufacture  pianos  in  quantities  of 
from  3,000  to  15,000  per  year  in  their  modern  establishments.    It 


Julius  Bauer 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


36^ 


is  claimed  that  the  large 
western  factories  are  at 
present  able  to  give  the 
greatest  value  in  the  market, 
which  accounts  to  some  ex- 
tent for  the  unprecedented 
growth.  Although  scarcely 
25  years  old,  the  western  fac- 
tories supply  to-day  fully 
half  the  pianos  sold  in  the 
United  States. 

All  the  pioneers  in  the 
organ  trade  of  the  United 
States  have  eventually  turned 
to  piano  making,  in  most  in- 
stances discarding  the  organ 
altogether. 

Farming  in  Xew  Hamp- 
shire has  ever  been  a  most  precarious  occupation,  the  rocky 
soil  and  long  winters  seldom  enabling  even  a  hard-working  and 
intelligent  farmer  to  support  his  family.  Jacob  Estey  was  born 
on  such  a  farm  near  Hinsdale,  X.  H.,  on  September  30,  1814. 
When  only  four  years  of  age  he  had  to  leave  his  parents' 
home  to  be  supported  by  a  neighboring  farmer.  The  boy  had  to 
work  very  hard  for  his  meals  and  scant  clothing,  but,  being  made 
of  the  right  stuff,  he  ran  away  when  13  years  of  age  and  escaped 
to  Worcester,  Mass.,  where  he  was  apprenticed  to  a  plumber. 
After  serving  his  apprenticeship  he  took  to  traveling,  following 
his  profession,  and  landed  in  1831:  at  Brattleboro,  Vt.,  the  town 
which  was  to  become  famous  all  over  the  world  because  of  the 
organs  which  Estey,  later  on,  made  there  and  sent  to  all  parts  of 
the  globe. 


364  PIANOS  AND  THEIR  MAKERS 

In  1835  he  established  his  own  phnnbiug  shop.  Thrift  and 
economy  brought  him  wealth,  so  that  in  1848  he  could  erect  a 
large  building  on  Main  Street.  The  upper  part  of  this  building 
he  rented  to  a  melodeon  maker  by  the  name  of  Greene.  Having 
surplus  money  to  invest,  Estey  bought  an  interest  in  the  melodeon 
business,  continuing,  however,  his  i)rofitable  plumbing  establish- 
ment. Fire  destroyed  the  building  in  1857,  and  Estey  found  him- 
self almost  a  poor  man  once  more,  as  all  his  money  had  finally 
been  invested  in  the  melodeon  factory.  AVith  the  grit  of  the 
Yankee,  Estey  did  not  give  up.  He  had  observed  the  possi- 
bilities of  the  organ  business,  and  witliin  a  year  he  started  again 
to  build  parlor  organs. 

In  1860  he  engaged  Levi  K.  Fuller  as  engineer.  Fuller  was 
then  only  19  years  of  age,  but  had  studied  mechanics  so  thor- 
oughly that  he  became  most  valuable  to  Estey.  The  business  grew 
by  leaps  and  bounds.  Superior  quality  was  the  watchword  all 
through  the  factory.  Fuller  was  admitted  to  partnershi})  to- 
gether with  Estey 's  son  Julius  in  1866,  when  the  Estey  Organ 
Company  was  organized  with  Jacob  Estey  as  president,  Levi 
K.  Fuller,  vice-president,  and  Julius  Estey,  secretary  and  treas- 
urer. From  its  small  beginning  the  production  of  the  Estey 
factories  rose  to  an  output  of  1,800  organs  per  month.  The 
Estey  factory  became  the  alma  mater  of  a  number  of  young- 
students  who  later  on  made  names  for  themselves  in  the  organ 
world.  Joseph  Warren,  of  Clough  &  Warren;  the  four  Whites, 
father  and  sons,  of  Wilcox  &  White  fame ;  Stevens,  of  the  Stevens 
Organ  Company;  Putnam,  of  the  Putnam  Organ  Company, 
Wright,  of  Mason  &  Hamlin,  and  last,  but  not  least,  Yotey,  of  the 
Aeolian  Company,  are  all  graduates  of  the  Estey  school  of  organ 
building.  In  1885  the  Estey  Piano  Company  was  organized,  estab- 
lishing a  large  factory  in  New  York  City.    Branch  stores  had  been 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


365 


established  in  New  York,  St. 
Louis,  P]iiln(le]])liia,  Boston, 
Cliieago,  London  (England), 
and  elsewhere.  Wherever 
exhibited,  the  Estey  pianos 
and  organs  carried  otT  high- 
est awards  for  su})erior  con- 
struction and  workman- 
ship. 

Jacob  Estey  was  a  man 
of  firm  character,  molded  in 
the  school  of  adversity  from 
his  earliest  childhood,  but, 
perhaps  because  of  his  own 
sufferings,  he  became  a  very 
sympathetic  employer  and 
enjoyed  the  respect  and  love 
of  his  employees.  He  died 
on  April  15,  1890. 

Levi  K.  Fuller  was  a  born  scientist  and  did  valuable  service  in 
the  improvement  of  the  Estey  organ.  A  great  reader  and  student, 
he  was  well  versed  in  acoustics,  and  his  collection  of  tuning-forks 
and  acoustic  apparatus  exhibited  at  the  World's  Fair,  Chicago,  in 
1893,  was  honored  with  a  special  award  by  the  judges.  Fuller 
served  as  Governor  of  the  State  of  Vermont,  and  received  numer- 
ous other  public  honors  in  recognition  of  his  ability.  Ambitious 
and  conscientious  to  an  exalted  degree.  Fuller  would  often  over- 
work himself  in  a  manner  which  finally  caused  his  untimely  demise 
on  October  10,  189(5,  at  the  age  of  55. 

Julius  Estey,  like  his  father,  was  an  enterprising  Init  careful 
business  man.     After  the  death  of  his  two  senior  partners,  the 


m 


PIAXOS  AND  THEIR  MAKERS 


management  of  the  business 
rested  ujjon  him,  and  with 
the  inborn  Estey  spirit  he 
sought  for  new  fields  in 
which  to  expand  tlie  business 
and  spread  the  fame  of  the 
name  of  Estey.  He  com- 
menced the  building  of  large 
church  organs  in  1901,  erect- 
"g  ing  a  special  factory  with  the 
most  modern  equipment  for 
that  purpose.  It  was  not  for 
him  to  see  the  full  develop- 
ment of  this  new  enterprise. 
He  died  on  March  7,  1902, 
aged  57.  His  sons,  Jacob 
Gray  Estey  and  J.  Harry  Es- 
tey, succeeded  him  as  man- 
agers, enjoying  the  services  of  their  trusted  office  manager,  L. 
AV.  Hawley,  who  has  been  in  the  continued  service  of  the  Estey 
Company  for  over  50  years. 

John  Boulton  Simj^son  acquired  control  of  the  Arion  Piano  in 
1869,  and  manufactured  high  grade  pianos  until  1885,  when  he 
formed  a  combination  with  the  Esteys,  by  which  the  name  was 
changed  from  Arion  Piano  Company  to  Estey  Piano  Company. 

A  large  factory  with  modern  appliances  was  erected  in  New 
York,  and  the  Estey  grand  and  upright  pianos  soon  became  a 
dominant  factor  in  the  piano  trade.  John  Boulton  Simpson 
is  still  president  of  the  company,  assisted  by  Jacob  Gray 
Estey  and  J.  Harry  Estey  as  active  business  managers,  main- 
taining the  prestige  of  the  Estey  reputation  for  high-class 
products. 


Jiiliii.-5  Ebtev 


MEX  WHO  HAVE  MADE  PIAXO  HISTORY 


367 


Every  now  and  then  we 
hear  of  a  genius,  born  on  the 
rocky  soil  of  New  England, 
wlio  has  music  in  his  soul. 
Being  the  exception,  this 
trait,  when  existing,  is  usu- 
ally so  forceful  that  such  a 
man's  life  will  he  entirely 
wrapped  up  in  it,  in  contra- 
distinction to  his  fellow- 
Yankee,  who  as  a  rule  is 
shrewd  and  practical,  but 
cannot  whistle  a  simple  tune 
correctly,  Henry  Kirk  White 
was  born  and  raised  on  a 
farm  near  Hartford,  Conn, 
His  family  dates  back  to 
the  good  old  English  stock 

of  the  early  settlers  who  landed  at  Xantasket,  Mass.,  in 
1630.  Supposed  to  spend  his  life  on  the  "  home  place,"  Henry 
thought  more  of  music  than  of  farming.  With  no  opportunity 
for  musical  education,  his  natural  ability  made  him  a  teacher 
of  singing  and  leader  of  choruses  at  the  age  of  twenty.  He 
learned  the  art  of  tuning  pianos  and  organs,  and  traveled  from 
place  to  place  following  that  profession,  acquiring  valuable  knowl- 
edge as  to  the  various  constructions  of  these  instruments.  In  1845 
he  began  to  make  musical  instruments  and  two  years  later  manu- 
factured melodeons  at  X^ew  London,  In  1853  he  removed  his  fac- 
tory to  Washington,  X.  J.  The  Civil  War  compelled  him  to 
abandon  his  enterprise  and  take  up  his  abode  at  Philadelphia,  where 
he  found  a  rich  field  as  a  tuner  and  repairer  of  i^ianos  and  organs. 


Henry  Kirk  \\  bite 


368 


PIANOS  AND  THEIR  ^fAKERS 


He  established  a  reputation 
as  an  expert  tuner,  and  in 
1865  the  great  Estey  Organ 
Company  called  him  to 
Brattleboro,  Vt.,  as  super- 
intendent of  their  tun- 
ing department.  He  worked 
witli  the  Estey  Company 
twelve  years,  and  during 
that  time  taught  his  three 
sons  the  art  of  organ  making. 
When  in  1877  that  great 
captain  of  industry,  H.  C. 
Wilcox  of  Meriden,  made 
White  and  his  sons  a  tempt- 
ing offer  to  start  an  organ 
factory,  the  family  packed 
up  their  belongings  and 
moved  to  Meriden,  Conn.  The  Wilcox  &  White  Organ  Company, 
capitalized  at  $100,000,  was  organized,  and  the  White  family  be- 
gan to  make  their  imprint  on  the  history  of  organ  and  piano 
building  in  the  United  States. 

The  oldest  son,  James  H.  White,  born  on  September  26,  1847, 
had  served  for  a  number  of  years  in  the  Wanamaker  house  at  Phila- 
delphia, studying  commercial  usages  and  merchandising,  before  he 
learned  organ  building  at  Estey 's.  It  was  but  natural,  therefore, 
that  he  should  be  intrusted  with  the  business  management  of  the 
new  concern.  Like  his  father,  born  with  considerable  talent  and 
love  for  music,  we  find  him  as  a  young  man  playing  the  organ  in 
his  church  at  Brattleboro,  Vt. 

Having  acquired  a  thorough  knowledge  of  the  works  of  the  great 
composers,  and  being  an  expert  judge  of  tone  and  tone  quality. 


James  H.  White 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


369 


James  H.  White  would  ever 
search  for  the  highest  in 
tone  product  ion,  and,  to- 
getlier  with  liis  In'others, 
supplemented  tlie  inventions 
of  his  father.  The  records 
of  the  United  States  Patent 
Office  speak  volumes  of  the 
valuable  contributions  which 
the  White  family  has  made 
to  the  industry,  but  his 
greatest  service  to  the  com- 
pany was  the  courage  and 
energy  which  he  displayed 
in  times  of  stress  and  dan- 
ger, steering  the  ship  clear 
of  breakers  and  advancing 
the  prosperity  of  the  con- 
cern in  the  face  of  apparent  adversity.  Strong  as  his  father  and 
brothers  were  as  inventors  and  technicians,  without  the  artistic 
and  commercial  genius  of  James  Henry,  the  company  would 
hardly  have  reached  that  doniinant  ])Osition  which  it  occupies 
to-day. 

Edward  H.  White,  born  April  5,  1855,  inherited  the  inventive 
genius  of  his  father  and  made  his  mark,  especially  by  inventing  the 
Angelus  piano  player,  which  at  once  brought  that  company  to  the 
front  in  the  industry  of  i)iano-playing  mechanism.  He  died  Sep- 
tember 1(),  ISDD.  at  the  age  of  forty-four  years. 

Howard  White,  the  youngest  of  the  three  talented  brothers,  was 
born  on  September  9,  1856.  After  he  had  mastered  all  branches  of 
the  art  he  was  intrusted  with  the  minagement  of  the  large  fac- 
tories, which  in  the  course  of  time  had  grown  to  a  huge  establish- 


Edward  IT.  Wlnte 


170 


PIANOS  AND  THEIR  MAKERS 


ment.  He  applied  himself 
so  zealously  to  his  manifold 
duties  that  he  passed  away 
on  December  9,  1897,  aged 
only  forty-one  years.  The 
founder,  Henry  Kirk  White, 
(lied  January  13,  1907. 
James  H.  AVhite,  the  only 
surviving  member  of  the 
founders,  still  guides  the 
destiny  of  the  great  corpo- 
ration, which  now  employs  a 
capital  of  $150,000. 

After  the  decease  of  Ed- 
ward and  Howard  White, 
Frank  C.  White,  son  of 
James  Henry,  was  placed  in 
charge  of  the  mechanical  de- 
partment of  the  factory.  He  was  always  of  a  very  decidedly 
inventive  turn  of  mind,  and  to  him  are  due  many  valuable 
improvements  and  devices  that  have  made  the  Angelus  world 
renowned. 

As  a  commercial  enterprise  the  Sterling  Company  of  Derby, 
Conn.,  is  one  of  the  earliest  successes  in  history.  Taking  over  the 
assets  of  what  was  known  as  the  Birmingham  Organ  Company  in 
1871,  Charles  A.  Sterling  organized  in  1873  the  Sterling  Organ 
Company  with  a  capital  of  $30,000.  The  manufacturing  of  pianos 
was  commenced  in  1885.  Shortly  after,  J.  R.  Mason  joined  the  com- 
pany, acting  as  secretary  and  treasurer  until  1901,  when  he  was 
elected  to  the  presidency.  A  thorough  piano-man,  with  many  years 
of  experience  in  the  west,  where  he  was  born  in  1847,  Mason 


Howard   \\  liiti 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


371 


developed  the  business  of 
the  company  to  its  present 
magnitude,  improving  the 
(piality  of  the  instruments  in 
every  respect,  being  particu- 
larly successful  in  producing 
a  satisfactory  player  piano. 
The  company  is  now  counted 
among  the  largest  producers 
of  pianos,  and  the  capital 
stock  has  been  increased 
from  $30,000,  in  1873,  to 
$1,000,000. 

A  number  of  working- 
men  skilled  in  the  art  of 
organ  building,  started  the 
Detroit  Organ  Company  on 
a  co-operative  plan  in  1881. 
Like  all  such  Utopian  undertakings,  the  enterprise  did  not  suc- 
ceed, and  in  1883  C.  J.  Whitney,  a  prominent  music  dealer,  and 
E.  S.  Votey,  a  practical  organ  maker,  bought  the  business  and  in- 
corporated the  Whitney  Organ  Company.  In  the  same  year  W.  R. 
Farrand  joined  the  corporation,  assuming  the  financial  manage- 
ment, the  manufacturing  being  in  charge  of  Votey.  In  1887  Whit- 
ney retired  and  the  name  was  changed  to  the  Farrand  &  Votey 
Company.  Ambitious  to  extend  its  business,  the  company  com- 
menced to  manufacture  church  organs  in  1888.  Consummating 
an  advantageous  deal  for  all  the  patents  of  the  renowned  organ 
builder,  Frank  Roosevelt  of  New  York,  the  company  was  in  a 
position  to  build  most  excellent  instruments,  and  scored  a  decided 
success  at  the  Chicago  Exposition  of  1893,  where  Guilmant  and 


372 


PIAXOS  AND  THEIR  MAKEES 


Clarence  Eddy  gave  memo- 
rable concerts  ujDon  the  im- 
mense pipe  organ  erected  by 
the  Farrand  &  Votey  Com- 
pany. 

E.  S.  Yotey  displayed  liis 
ingenuity  as  an  inventor  by 
devising  many  improve- 
ments in  churcli-organ  mech- 
anism, and  more  especially 
in  his  work  on  piano  players. 
He  had  snch  implicit  faith 
in  the  future  of  the  piano 
player  that  he  joined  the 
Aeolian  Company  in  1897, 
buying  the  pipe-organ  and 
player-piano  departments  of 
the  Farrand  &  Votey  Company,  and  building  his  first  thousand  of 
Pianolas  in  the  Detroit  shops.  The  company's  name  was  now 
changed  to  ''  The  Farrand  Com})any,"  and  special  attention  was 
given  to  its  own  creation,  the  Cecilian  player  piano,  an  instrument 
of  merit  and  high  quality.  The  company  has  also  put  upon  the 
market  a  metallic  piano-player  action. 

An  expert  reed-organ  builder,  Isaac  T.  Packard  interested  a 
number  of  capitalists  to  start  an  organ  factory  at  Fort  Wayne, 
Ind.,  in  1871.  Packard  was  a  fine  mechanic  and  inventor,  produc- 
ing an  instrument  of  superior  quality.  Imder  the  conservative 
guidance  of  S.  B.  Bond,  as  president  of  the  company,  stead}^ 
progress  was  made,  the  concern  depending  more  upon  the 
superior  quality  of  its  product  than  upon  the  ordinary  business 
propaganda. 


J.  R.  Mason 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


373 


S.  B.  Bond,  born  at  Lock- 
port,  N.  Y.,  October  17,  1833, 
came  with  his  father's  family 
as  pioneers  to  Fort  Wayne 
in  1842.  At  the  age  of  13 
young  Bond  went  to  work 
as  porter  and  assistant  clerk 
for  the  State  Bank  of  In- 
diana, which  at  that  time  was 
under  the  management  of 
Hugh  McCulloch,  who  later 
on  acquired  fame  as  Lin- 
coln's Secretary  of  the 
Treasury.  In  1874  Bond 
was  elected  president  of  the 
Fort  Wayne  National  Bank. 
He  remained  in  the  presiden- 
tial   chair    until    December, 

1904,  when  he  resigned  in  order  to  devote  his  whole  time  to  the 
growing  business  of  the  Packard  Company. 

Although  identified  with  banking  from  boyhood,  Bond  was  in 
love  with  the  inspiring  atmosphere  of  the  organ  and  ])iano  fac- 
tory, which  he  always  ]ireferred  to  the  cold  walls  of  the  bank- 
ing house,  though  he  made  his  mark  in  both.  He  died  July  20, 
1907. 

His  son,  Albert  S.  Bond,  entered  the  service  of  the  Packard 
Company  as  an  apprentice  at  the  age  of  16,  in  1879.  After  five 
years'  experience  on  the  bench,  young  Albert  spent  two  years 
traveling  as  salesman  for  the  Company  and  was  elected  general 
manager  in  1886.  Under  the  guidance  of  his  father  he  soon  ex- 
panded the  business.  Well  educated,  with  distinct  artistic  inclina- 
tions and  full  of  progressive  enthusiasm,  he  added  the  manufacture 


grm^a^ 


m 


PIANOS  AND  THEIR  MAKERS 


of  pianos  in  1893.  Main- 
taining the  high  standard  of 
the  Packard  name,  the  pi- 
anos were  readily  accepted 
by  the  trade  as  high-class  in- 
struments, and  since  the  suc- 
cessful introduction  of  the 
Packard  Player  Piano  the 
business  of  the  corporation 
has  assumed  commanding 
proportions.  The  Packard 
}U'oducts  are  valued  for 
musical  quality  of  tone  and 
most  exquisite  workmanship 
in  all  details. 

Another  concern  which 
has  strongly  assisted  in 
establishing  the  reputation 
for  the  highest  quality  of  western-made  pianos  is  the  A. 
B.  Chase  Company  of  Norwalk,  Ohio.  Starting  in  1875  to 
manufacture  organs,  it  began  the  making  of  pianos  in  1885. 
A.  B.  Chase  died  in  1877,  when  Calvin  Whitney  assumed  the  man- 
agement. Whitney  was  a  strong  character,  who  impressed  his 
personality  indelibly  upon  the  enterprise.  Born  at  Townsend,  Ohio, 
on  September  25,  1846,  he  started  in  business  at  the  age  of  19 
with  a  capital  of  $400,  which  he  had  saved  from  his  earnings  as  a 
store  clerk.  A  man  of  lofty  ideals,  he  aimed  in  whatever  he  under- 
took for  the  highest  and  purest.  With  unfaltering  faith  he  con- 
quered all  the  difficulties  which  the  western  pioneer  manufacturers 
had  to  encounter  and  had  the  satisfaction  of  seeing  his  company 
rank  in  the  lead  of  high-class  piano  manufacturers.    He  was  among 


Calvin  Whitney 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


375 


the  first  to  take  up  the  player 
piano  earnestly,  and  in  1905 
produced  the  Aristano  grand 
player  piano.  Whitney  died 
on  June  6,  1909,  having  lived 
a  strenuous  but  very  useful 
life.  L.  L.  Doud  has  served 
the  company  as  secretary 
since  its  start  in  1875,  and 
still  fills  his  position  with 
zeal  and  ability.  W.  C. 
Whitney,  son  of  Calvin,  edu- 
cated in  the  factor}^  and  office 
of  the  Chase  Company,  is 
preparing  himself  for  great- 
er work  in  the  future,  acting 
at  present  as  vice-president 
of  the  company. 

Among  the  pioneers  of  the  music  trade  in  the  west,  Hampton 
L.  Story's  name  stands  foremost.  Born  at  Cambridge,  Vt.,  June 
17,  1835,  he  showed  an  inborn  talent  for  music,  and  his  first  em- 
plojTQent  was  in  a  music  store  at  Burlington,  Vt.,  at  the  princely 
salary  of  $50  per  month  and  board.  Having  saved  a  small  capital 
from  his  wages  as  schoolteacher,  he  bought  out  his  principal  in 
1859.  Not  satisfied  to  be  merely  a  dealer,  he  joined  a  piano  maker 
by  name  of  Powers,  manufacturing  the  Story  &  Powers  piano  in 
1862.  This  was  perhaps  the  first  piano  factory  in  the  State  of 
Vermont. 

The  business  prospered,  but  the  field  was  too  limited  for  enter- 
prising Story,  and  when  in  1867  Jacob  Estey  offered  him  the 
agency  for  the  Estey  organs,  in  the  western  states.  Story  closed  out 


!76 


PIANOS  AND  THEIR  MAKERS 


his  business  at  Burlington 
and  established  himself  at 
Chicago.  In  1868  he  ad- 
mitted Isaac  X.  Camp  as 
l)artner.  The  firm  of  Story 
cV:  Cam})  soon  became  one  of 
■y.  the  leaders  in  the  piano  and 
organ  trade  of  the  west,  hav- 
ing stores  at  Chicago  and  St. 
Louis,  controlling  a  large 
wholesale  and  retail  trade 
through  the  entire  west. 

With  his  characteristic 
keenness  and  foresight,  Story 
observed  that  the  west  would 
eventually  manufacture  its 
own  musical  instruments, 
and  he  therefore  retired  from  the  firm  of  Story  &:  Camp  and 
in  1884,  with  Melville  Clark  and  his  son,  Edward  H.  Story, 
founded  the  firm  of  Story  &  Clark,  for  the  manufacture  of  reed 
organs. 

Melville  Clark  was  known  as  an  expert  reed-organ  builder,  who 
had  patented  many  improvements.  The  business  was  successful 
from  the  start,  and  in  1888  the  Story  &  Clark  Organ  Company  was 
incorporated,  witliE.  H.  Story,  son  of  the  founder,  as  president,  and 
Melville  Clark,  vice-president.  The  foreign  trade  grew  so  rapidly 
that  a  factory  was  erected  at  London,  England,  in  1892,  under  the 
management  of  Charles  H.  Wagener,  and  another  in  1893  at  Berlin, 
Germany. 

The  organs  designed  and  made  under  the  supervision  of  Mel- 
ville Clark  were  of  the  highest  order  in  quality  and  tone,  and,  when 


E.  H.  story 


MEX  WHO  HAVE  MADE  PIAXO  HISTORY 


377 


in  1895  the  making  of  pianos 
was  commenced,  the  same 
high  standard  was  main- 
tained. Melville  ("hirk  sev- 
ered his  connection  with  tlie 
company  in  1900,  to  start  the 
]\Ielvil!e  Clark  Company, 
and  the  management  has 
since  been  in  the  hands  of 
Edward  H.  Story.  The  de- 
mand for  pianos  increased 
at  such  a  rate  that  the  erec- 
tion of  larger  factories  be- 
came necessary,  and  in  1901 
the  company  erected  its 
model  plants  at  Grand 
Haven,  Mich.  Counted 
among  the  largest  producers 

of  high-grade  pianos,  the  company  is  its  own  distributor,  con- 
trolling a  chain  of  warerooms  in  the  })rincii)al  cities  of  the  United 
States. 

Melville  Clark's  name  will  forever  be  printed  upon  the  pages 
of  the  organ  and  piano  industry  as  one  of  the  most  prolific  in- 
ventors. Born  in  Oneida  County,  Xew  York,  he  inherited  a  love 
for  music  and  became  an  enthusiastic  student.  Desirous  to  learn 
all  about  the  construction  of  pianos  and  organs,  he  served  an 
apprenticeship  as  a  tuner  and  took  to  traveling.  Landing  finally 
in  California,  he  started  a  factory  for  the  production  of  high-grade 
organs.  The  enterprise  was  a  success,  but  the  market  for  the 
product  was  limited,  and  in  1877  he  sold  out  his  interest.  After 
a  short  stay  in  Quincy,  111.,  we  find  him  in  1880  at  Chicago  making 
organs  under  the  firm  name  of  Clark  &  Rich. 


Melville  C  lark 


o/i 


PIANOS  AND  THEIR  MAKERS 


In  1884  he  joined  H.  L.  Story  under  the  firm  name  of  Story  & 
Clark.  Desirous  of  devoting  himself  entirely  to  the  development 
of  the  piano-player  mechanism,  Clark  severed  his  connection  with 
the  Story  &  Clark  Piano  and  Organ  Company  in  1900,  after  16 
years  of  zealous  activity,  and  started  the  Melville  Clark  Piano 
Company  with  a  capital  of  $500,000,  erecting  modern  factory 
buildings  at  De  Kalb,  111.  The  patent  records  tell  the  story  of 
Clark's  activity  and  success  in  his  efforts  in  that  direction.  Clark 
produced  his  first  88-note  cabinet  player  in  January,  1901,  and  his 
88-note  interior  player  piano  in  1902,  while  his  first  grand  player 
piano  was  completed  in  1904.  He  had  the  satisfaction  of  seeing 
his  self-playing  grand  piano  used  in  a  public  concert  at  New 
Orleans  in  December,  1906,  under  the  auspices  of  L.  Grunewald  & 
Company.  Among  the  many  improvements  in  player  mechanism 
for  which  Clark  obtained  patents  may  be  mentioned  the  appli- 
cation of  the  downward  touch  of  the  key  and  his  transposing 
device,  the  latter  having  been  adopted  by  other  player-piano 
makers  under  Clark's  patent. 

The  career  of  Frederick  Engelhardt,  senior  partner  of  Engel- 
hardt  &  Sons,  is  interesting.  Born  in  Germany,  he  came  with  his 
parents  to  New  York  at  the  age  of  10.  Having  gone  through  the 
public  school,  he  was  apprenticed  to  a  cabinetmaker.  After  serv- 
ing his  apprenticeship,  desirous  of  seeing  something  of  the  life 
of  the  *'  Wild  West,"  he  enlisted  as  a  cavalryman  in  the  United 
States  Army,  and  took  part  in  many  of  the  early  battles  with 
Indians  on  the  far-western  plains,  narrowly  escaping  the  massacre 
of  Custer's  force  by  Sitting  Bull.  After  his  discharge  from  the 
army  he  entered  the  employ  of  the  author,  and  was  soon  advanced 
to  the  position  of  superintendent  of  the  soundboard  department 
at  the  Dolgeville,  N.  Y.,  factories.  He  designed  and  executed  the 
exhibit  of  that  department  for  the  Paris  exhibition  of  1879,  for 
which  the  highest  award  was  granted  by  the  jury. 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY         379 


Ambitious    to    be    more 

tlian     a     mere     soundboard 

maker,  Eugelliardt  sought  a 

position    in    a    piano-action 

factory.     He    finally    found 

employment    with    Steinway 

&    Sons,    where    for    seven 

years  he  had  charge  of  the 

action   dei)artment   as   fore- 
man.    In  January,  1889,  he 

formed   a   partnership   with 

A.  P.  Roth,  who  had  acquired 

a  thorough  business  training 

in    the    author's    store    and 

general  offices  in  New  York, 

and  the  firm  of  Roth  &  En- 

gelhardt  began  business  as 

makers  of  piano  actions.    In 

1898  the  firm  placed  their  first  player  piano  on  the  market.    It  was 

known  as  the  "  Peerless  "  self-playing  piano.  This  was  soon 
followed  by  the  "  Harmonist  "  player  piano,  and  later  on 
by  the  coin-operated  automatic  player  piano  with  endless  tune 
sheet. 

A.  P.  Roth  retired  from  the  firm  on  January  1,  1908,  and  Engel- 
hardt  admitted  his  sons,  Alfred  D.  and  AYalter  L.,  to  partnership 
under  the  firm  name  of  F.  Engelhardt  &  Sons.  Still  in  the  prime 
of  life,  Engelhardt  has  seen  his  enterprise  grow  from  the  smallest 
beginning  to  one  of  the  largest  establishments  of  its  kind,  with 
the  i)rospect  that  its  future  is  guaranteed  by  the  activity  of  his 
sons. 

Another  firm  which  graduated  from  the  Steinway  school  is 
Wessell,  Nickel  &  Gross,  action  makers.     Otto  Wessell,  born  in 


380 


PIANOS  AND  THEIR  MAKERS 


Hoi  stein,  Germany,  in  1845, 
came  to  America  with  his 
parents  in  1847.  Graduat- 
ing from  the  New  York  pub- 
lic school,  he  was  appren- 
ticed to  a  cabinetmaker,  and 
improved  upon  that  by 
learning  the  piano  trade 
afterward.  While  in  the 
employment  of  Steinway  & 
Sons  he  advanced  to  a  posi- 
tion of  trust  and  responsi- 
bility. In  1875  he  started  in 
business,  forming  a  partner- 
ship with  his  colleagues, 
Nickel  and  Gross,  who  were 
also  employed  as  action 
makers  by  Steinway  &  Sons. 
Because  of  their  practical  experience  in  producing  the  high- 
est class  of  work,  the  business  was  a  success  from  the  start  and. 
the  firm  has  ever  since  maintained  the  leading  position  for 
quality. 

Otto  Wessell  was  a  self-made  man.  With  few  opportunities  in 
his  youth,  he  achieved  his  prominent  position  in  the  business  world 
by  force  of  character,  unimpeachable  integrity  and  that  peculiar 
noblesse  and  lil)erality  which  is  usually  acquired  only  by  those 
who  have  to  commence  at  the  bottom  rung  of  the  ladder.  The 
writer  often  met  Otto  Wessell,  in  his  early  days,  at  piano  fac- 
tories loaded  with  two  upright  actions,  which  he  had  carried  from 
his  shop,  partly  to  save  the  expense  of  hiring  an  expressman,  but 
also  to  see  whether  his  customer  was  satisfied,  and  a  broad  smile 


otto  Wessell 


MEN  WHO  HAVE  MADE  PIAXO  HIS'l'OKV 


381 


would  run  ovor  liis  genial 
face  when  the  actions 
were  accepted  without 
criticism. 

From  those  small  begin- 
nings Wessell  saw  his  firm 
rise  to  ])romiuence  second 
to  none  in  America,  employ- 
ing over  500  hands  and 
counting  among  his  custom- 
ers the  foremost  makers  of 
high-class  pianos.  An  inde- 
fatigable worker,  Wessell, 
like  others  of  his  kind,  drew 
too  rapidly  on  nature's 
bounty  and  passed  away  on  - 
May  25,  1899,  at  the  age  of 
54.  The  business  is  con- 
tinued by  his  partner,  Adam  Nickel,  with  Henry  Nickel,  Jr.,  and 
Arthur  and  Fernando  Wessell,  sons  of  the  founder,  as  junior 
partners. 

Among  the  old-time  hammer  coverers,  John  Frederick  Schmidt 
stood  in  the  front  rank  during  the  period  of  his  activity.  Born 
at  Marburg,  Germany,  in  1823,  he  learned  the  trade  of  cabinet- 
making.  He  went  in  partnership  with  Peter  De  Witt  Lydecker  in 
1864,  succeeding  Ole  Syverson,  who  had  founded  the  business  in 
1856.  In  1877  Lydecker  retired,  and  Schmidt  continued  until 
1886,  when  ill  health  compelled  him  to  seek  tlie  (piietude  of  i)rivate 
life.  His  firm  has  ever  enjoyed  an  envial)le  reputation  for  ex- 
cellent workmanshi])  in  hammer  making.  He  died  on  September 
26,  1906.  His  son,  David  H.  Schmidt,  is  carrying  on  the  business 
as  a  corporation  with  marked  ability  and  success. 


John  Frederick  (Scliniidt 


PIANOS  AND  THEIR  MAKERS 


Charles  Pfriemer  is  an- 
other Steinway  graduate 
who  made  his  mark. 

Born  in  1842,  under  the 
shadow  of  the  romantic  old 
castle  Holienzollern,  where 
the  f oref athers  :of  the  Em- 
peror of  Germany  dwelt, 
Pfriemer  performed  his  duty 
as  a  soldier  during  the  Aus- 
tro-Prussian  War  and  came 
to  America  in  the  latter  part 
of  1866.  - 

A  cabinetmaker  by  trade, 
he  learned  hammer  making 

-  -  '     in  Steinway 's  shojD,  and  later 

Charles  Pfriemer  on   assumed   charge    of   the 

hammer  department  in  Albert  Weber's  factory.  In  1874  he  started 
in  business  on  his  own  account,  and  was  among  the'  first  to  use 
iron  hammer-covering  machines.  Achieving  an  enviable  reputation 
for  making  a  peculiarly  pear-shaped  hammer,  Pfriemer  built  up  a 
large  and  lucrative  business.  He  died  in  1908.  The  business  is 
carried  on  bv  his  two  sons. 


PART  FOUR 

Influence  of  Piano  Virtuosos  upon  the  Industry 

CHAPTER  I 

Bach,  Mozart,  Cliopin,  Liszt,  Rubinstein,  Biilow,  Joseffy,  Rosen- 
thal, Carreno,  de  Pachmann,  Busoni,  Paderewski,  Hofmann. 


PART    FOUR 


CHAPTER  I 


INFLUENCE  OF  PIANO  VIRTUOSOS  UPON  THE 

INDUSTRY 


THE  great  virtuosos  WS^. 
and  teachers  of  the 
piano  have  ever  been 
valuable  helpmates  of  the  pi- 
ano maker.  He  receives  his 
inspirations  from  their  play- 
ing on  the  one  hand,  and  is 
continually  spurred  to  great- 
er efforts  by  their  never- 
ceasing  demands  for  a  j^er- 
fect  action,  greater  and 
purer  tone. 

In  contrast  to  the  violin, 
which  was  almost  perfect 
from  its  first  appearance, 
the     piano     required     more 

than    200    years    for    develop-  Joliami  Sebastian  Bach 

ment,  and  the  last  word  has  not  yet  been  said.    Handel,  Haydn, 
and    even    Mozart,    with    their    sweet,    heavenly    music,    could 

385 


386 


PIANOS  AND  THEIR  MAKEES 


be  satisfied  witli  tlie  clavi- 
chord and  harpsichord.  In 
their  days  music  was  the  en- 
tertainment of  the  privileged 
higher  classes,  who  assem- 
bled in  salons  to  play  cham- 
ber music  of  a  pleasing  and 
enchanting,  but  not  soul- 
stirring,  character.  Joliann 
Sebastian  Bach,  that  titan  of 
the  organ,  felt  the  need  of 
something  stronger,  more 
positive  and  powerful  than 
the  clavichord,  and  it  was  he 
who  aroused  Silbermann  to 
greater  efforts  in  piano 
building,  when  he  con- 
demned his  first  pianos  in  unmeasured  terms. 

Bach  must  have  had  a  divine  inspiration  as  to  the  ultimate 
development  of  the  piano  when  he  wrote  his  immortal  composi- 
tions for  that  instrument,  which  was  then  in  its  infancy.  It  is 
questionable  whether  Silbermann,  the  organ  builder,  would  have 
striven  to  improve  his  piano  but  for  Bach's  criticism,  which  hurt 
the  feelings  of  the  proud  and  sensitive  artisan  and  made  him  re- 
solve to  construct  a  piano  which  would  compel  Bach's  favorable 
comment  and  approval.  And  it  was  the  great  cantor  of  the  Thomas 
School  of  Leipsic  who  gave  the  first  testimonial  to  a  piano  maker, 
when  he  played  upon  and  praised  the  improved  Silbermann  pianos 
at  the  New  Palace  at  Potsdam  in  the  presence  of  Frederick  the 
Great. 


Wolfgang  Amadeus  Mozart 


3 
'3 
h-5 


INFLUENCE  OF  VIRTUOSO?; 


:^87 


Bach's  son,  Joliann 
Christian  Bach,  did  not 
hesitate  to  serve  as  demon- 
strator of  tlie  i)iano,  with 
the  avowed  purpose  of  mak- 
ing propaganda  for  tlie  pi- 
ano as  a  musical  instrument. 
He  went  to  London,  tak- 
ing several  German  pianos 
along,  and  there  gave  a  num- 
her  of  piano  recitals.  His 
first  concert  in  June,  1763, 
was  a  revelation  to  the  music 
lovers  of  London.  Never  be- 
fore had  they  listened  to 
such  brilliant  p hiving,  nor 
had  they  heard  such  tones, 
so  much  more  forceful  than 

the  clavichord  and  equally  more  musical  than  the  harpsichord  tone. 
Bach  aroused  the  London  harpsichord  makers  to  the  study  of  the 
new  instrument. 

Then  came  young  Wolfgang  Amadeus  Mozart,  who  discarded 
the  clavichord  and  was  most  happy  to  discover  at  Augsburg  the 
Stein  piano  with  an  action  which  ''  did  not  block."  He  wrote  to 
his  mother  an  enthusiastic  testimonial  for  the  Stein  piano,  praising 
Stein  as  an  artisan  who  did  not  build  pianos  to  make  money,  but 
for  the  love  of  his  art.  Stein  always  tried  to  meet  :Nrozart's  de- 
mands, and  finally  presented  to  Beethoven  a  grand  piano  of  six 
octaves  and  for  years  it  served  the  master  for  his  composing. 
But  Beethoven  wanted  still  more.  Six  octaves  were  too  small  a 
compass  for  the  symphonic  tone  pictures  which  raved  in  his  soul, 


Ludwiur  von  Beethoven 


388 


PIANOS  AND  THEIR  MAKERS 


Frederic  Chopin 


and  liis  admiring  friend 
Nannctte  Stein-Streiclier, 
had  to  l)uild  for  him  a  six 
and  one-half  octave  grand 
})iano. 

We  of  the  present  day^ 
used  to  iron-frame  construc- 
tion, the  aid  of  machinery, 
etc.,  can  scarcely  conceive 
what  difficulties  that  ingen- 
ious woman  piano  builder  en- 
countered when  she  attempt- 
ed to  meet  Beethoven's  de- 
sire for  extended  compass 
and  greater  tone,  but  she  suc- 
ceeded, and  Beethoven  wrote 
many  letters  to  her,  every 
one  of  them  a  grand  testi- 


monial for  the  Nannette  Stein-Streicher  piano. 

Like  Bach,  Beethoven  was  powerful,  titanic.  He  admired  the 
strong,  the  mighty,  the  forceful,  and  when  John  Broadwood  sent 
him  one  of  his  improved  grand  pianos  from  far-away  London, 
Beethoven,  in  spite  of  his  sincere  friendship  for  Nannette,  wrote 
to  London  regarding  the  piano,  "  I  shall  regard  it  as  an  altar 
upon  which  I  shall  place  the  most  beautiful  offerings  of  my  spirit 
to  the  divine  Apollo." 

Chopin,  that  most  i)oetic  of  all  composers,  and,  in  his  day, 
boldest  of  all  i)erformors,  allowed  his  admiration  for  the  Pleyel 
piano  and  his  personal  friendship  for  the  maker  to  control  him 
to  such  an  extent  that  he  would  not  play  on  any  other  piano  if 
he  could  obtain  a  Plevel. 


Ya 


o 


INFLUENCE  OF  VIRTUOSOS 


389 


Franz  Liszt  in  liis  early 
days  was  a  "  holy  terror  " 
for  piano  manufacturers. 
His  colossal  technique  and 
powerful  stroke  demanded 
an  action  of  superlative  con- 
struction and  workmanshii). 
It  is  said  that  at  his  first  con- 
cert at  the  Leipsic  Gewand- 
haus  in  1840,  being  in  an  ugly 
mood  because  he  could  not 
have  his  favorite  French  pi- 
ano to  play  ui)on,  he  smashed 
a  number  of  hammers  off  the 
action  with  his  very  first 
chords,  so  that  another  piano 
had  to  be  provided. 

Perhaps  no  other  virtu- 
oso has  forced  the  piano  makers  so  persistently  to  never- 
ceasing  efforts  to  improve  the  strength  and  plial)ility  of  the 
action  as  Liszt,  who  almost  invariably  required  two  grand 
pianos  for  an  evening  concert.  His  forceful  touch  and 
rapid  execution,  after  one  hour's  playing,  would  ])ut  most  of  the 
pianos  made  in  that  early  period  out  of  tune,  hence  we  can  under- 
stand later  on,  when  the  iron-frame  construction  and  the  mod- 
ern action  came  into  universal  use,  why  Liszt  did  not  spare  his 
api)roving  testimonials  for  the  creations  of  Steinway,  Bosendorfer, 
Ibach  and  others.  All  of  the  master  l)uilders  aimed  to  con- 
struct grand  pianos  which  would  meet  the  taxing  demands  of 
Liszt  so  that  they  could  obtain  his  testimonial,  the  highest  possible 
indorsement  of  piano  quality. 


Franz  Liszt 


390 


PIANOS  AND  THEIR  MAKERS 


Xext  to  Liszt,  Anton  Ru- 
binstein will  perhaps  be 
recorded  as  the  greatest  pi- 
ano virtuoso — Rubinstein's 
art  developed  with  the  i)iano. 
In  1810,  as  a  boy  of  10,  he 
})layed  on  the  delicate  pianos 
then  made  in  Paris,  but 
later  on  Becker  as  well  as 
Schroder,  of  St.  Petersburg, 
built  for  him  modern  grand 
pianos,  playing  which  he 
could  allow  his  genius  free 
rein,  fearless  of  conse- 
quences to  the  piano. 

Whoever  has  heard  Ru- 
binstein, while  he  was  in  his 
prime,  knows  that  he  sur- 
passed even  Liszt  in  forceful  attacks  on  the  piano,  and,  next  to 
Liszt,  Rubinstein  has  made  greater  jiropaganda  for  the  piano  than 
any  other  virtuoso.  His  testimonials  were  sought  for,  and  he 
gave  them  freely  and  willingly  to  the  many  makers  of  meritorious 
grand  pianos. 

That  scholarly  genius,  Hans  von  Biilow,  was  hard  to  please  in 
his  choice  of  pianos.  Not  of  that  storming  temperament  of  a 
Liszt  or  Rubinstein,  Biilow  rather  discouraged  great  volume  of 
tone,  demanding  a  sensuous  mellowness,  which  he  could  at  will,  if 
necessary,  raise  to  thundering  chords  by  that  wonderful  control 
which  he  had  over  his  technique.  How  adverse  Biilow  was  to  being 
considered  a  demonstrator  of  piano  quality  is  illustrated  by  an 
incident  which  happened  on  his  American  journey  in  1875   and 


Antou  liubinsteia 


Steinway  Hall,  New  York 


;^ 


''^;!:i'|:i];'i«.i-iiiiii';':!iui''''''i*^^^^^  ii^i 


INFLUENCE  OF  VIRTUOSOS 


391 


1876.     As  is  the  custom  in 

all     American     concerts,     a 

large  sign,  bearing  the  name 

of  the  maker  of  the  piano, 

was  placed  on  the  side  of  the 

piano   toward  the  audience. 

When  Billow  came  out  on  the 

platform     he     noticed     the 

sign,  and,  in  a  rage,  tore  it 

from    the    piano,    threw    it 

onto   the   floor   and,    tram})- 

ing  upon  it,  cried  loudly  to 

the  audience,  "  I  am  not  an 

advertising     agent,"     after 

which     he     sat     down     and 

played     as     inspiringly     as 

ever,    and    finally    gave    the  ^'"^s  von  Buiow 

piano  maker  a  strong  testimonial,  praising  the  superior  qualities 

of  the  piano. 

Who  has  not  listened  to  Rafael  Joseffy's  wonderful  pianissimo 
passages  and  wondered  how  the  same  piano  upon  which  Liszt  and 
Rubinstein  had  thundered  could  sing  like  music  from  heavenly 
spheres  under  Joseffy's  wonderful  touch.  To  satisfy  Joseffy's 
demands  for  elasticity  of  touch  and  pure  tone  quality  is  a  master's 
task,  yet  we  find  that  a  great  many  piano  builders  proudly  point  to 
.Joseffy's  indorsement. 

Josef  Hofmann,  who  astonished  the  world  as  a  "  wonder  child  " 
and  now,  in  his  manhood,  is  considered  the  reincarnation  of  Liszt 
and  Rubinstein  combined,  is  not  only  a  great  pianist  and  musician 
but  also  a  genius  as  a  mechanician,  capable  of  appreciating  the  dif- 
ficulties confronting  the  piano  maker  in  his  efforts  to  satisfy  the 
virtuoso's  demands,  and  therefore  docs  not  hesitate  to  express  his 


:]92 


PIANOS  AND  THEIR  MAKERS 


satisfaction   with    the  piano 
lie  plays  u})on. 

Moriz  Rosenthal  is  an- 
other of  the  virtuosos  who 
demands  nnich  of  the  piano 
maker.  Sensitive  to  an  ex- 
traordinary degree,  Rosen- 
thal insists  upon  an  evenness 
_  of  scale,  singing  quality,  but 
also  powerful  tone,  in  order 
to  exhibit  his  masterly  con- 
trol of  phrasing,  which 
makes  his  rendering  of 
Liszt's  Don  Juan  para- 
-    phrase  so  captivating. 

And  what  of  the  dream- 
ing Paderewski,  the  lyric 
de  Pachmann,  the  versatile 
Busoni,  or  captivating  Carreno  ?  Do  they  not  call  for  ex- 
traordinary display  of  genius  on  the  part  of  the  jDiano  makers, 
and  are  our  j^resent-day  master  builders  not  equal  to  their 
demands!  The  many  testimonials,  clothed  in  phraseology 
which  does  not  permit  of  doubt  or  misinterpretation,  prove  that 
they  do  satisfy  all  the  demands  made  upon  them,  and  thus 
the  influence  of  these  exacting  virtuosos  becomes  of  immeas- 
urable benefit  to  the  industry  of  the  day,  as  it  has  been  from  the 
beginning. 

Many  virtuosos,  like  Clementi,  Cramer,  Kalkbrenner,  Pleyel, 
Herz  and  others,  took  such  intense  interest  in  the  development  of 
the  piano  that  they  invested  their  money  earned  on  the  concert 
platform  in  piano  factories  and  took  an  active  part,  trying  to 
construct  such  instruments  as  they  desired  for  their  art.     Many 


Rafael  Joseffy 


INFLUENCE  OF  VIRTUOSOS 


39^ 


an  improvement  can  be 
traced  to  these  virtuoso- 
piano  makers,  notably  the 
Herz-Erard  grand  piano 
action. 

The  erection  of  concert 
halls  by  i)iano  manufactur- 
ers is  entirely  due  to  the  in- 
fluence of  the  virtuosos. 
Very  few  cities  had  concert 
halls  possessing  the  neces- 
sary acoustic  qualifications 
for  piano  recitals,  conse- 
quently Broadwood  built  his 
recital  hall  in  London;  at 
Paris  the  Salles  Erard, 
Pleyel  and  Herz  appeared; 
in     New     York,     Steinway, 

Chickering  and  Steck  halls  were  erected;  Vienna  has  its  Saal 
Bosendorfer  and  the  Saal  Ehrbar,  and  in  Berlin  we  find  the  Saal 
Bliithner — all  of  them  built  for  the  inirpose  of  permitting  the 
player's  virtuosity  and  the  piano's  tonal  qualities  to  be  heard  under 
most  favorable  conditions. 


Moriz  Rosenthal 


PART  FOUR 

CHAPTER  II 

Value  of  Testimonials 


PART   FOUR 


CHAPTER  II 


VALUE  OF  TESTIMONIALS 


THE  impression  pre- 
vails, more  or  less, 
that  testimonials  of 
artists  are  bought  by  the  pi- 
ano manufacturers,  a  misap- 
l^rehension  equally  unjust  to 
the  artist  and  the  piano 
maker.  No  virtuoso  who  is 
accepted  by  the  music-loving- 
public  as  an  artist  will  give 
a  testimonial  praising  the  Wi 
quality  of  any  piano  un- 
less he  has  thoroughly 
satisfied  himself  by  a  se- 
vere test  that  it  meets 
his  most  exacting  require- 
ments. 

When  Franz  Liszt,  who 
admired  the  Erard,  wrote  to  Bosendorfer,  ''  The  perfection  of 
your  grand  piano   surpasses  my  most   idealistic   expectations," 

397 


De  Paehniann 


398 


PIANOS  AND  THEIR  MAKERS 


?;^^  A--*^^&-!S^'^e®*^V^^^g!^':5'i^I^SS^S^^gS^^?^ 


and  then  wrote  to  Steinway, 
'^  Your  grand  piano  is  a 
glorious  masterpiece  in 
power,  sonority,  singing 
quality  and  perfect  har- 
monic effects,"  he  used  for- 
cible language  to  express  his 
conviction, 

Rubinstein  is  on  record 
for  unstinted  praise  of  the 
Ehrbar,  Pleyel,  Bliithner  and 
many  other  pianos.  After 
using  the  Stein  way  in  215 
consecutive  concerts  ''  with 
eminent  satisfaction  and  ef- 
fect," he  so  stated.  Rafael 
Joseffy  used  the  Bosendor- 
fer,  Bliithner,  Erard  and  Chickering  pianos  and  expressed  his  ad- 
miration for  all  of  them  because  they  merited  such,  and  now  plays 
the  Steinway.  De  Pachmann  dreams  his  Chopin  interpretations 
upon  all  celebrated  pianos  and  goes  into  ecstasies  over  the  Bald- 
win. Exacting  Biilow,  averse  to  anything  smacking  of  advertising, 
gave  tone  and  character  to  the  opening  of  the  Saal  Bosendorfer  at 
Vienna  and  of  Chickering  Hall  in  New  York,  but  did  not  overlook 
the  merits  of  the  Irmler  nor  the  Broadwood  and  many  others. 
Teresa  Carreno  finds  great  pleasure  in  playing  the  Bliithner, 
Schiedmayer,  Weber  and  Steinway,  and  indorses  the  Everett  as 
^'  a  distinct  achievement  in  piano  construction."  Ossip  Gabrilo- 
witsch  admires  Becker,  lauds  the  power  and  brilliancy  of  the  Ever- 
ett and  praises  "  the  phenomenal  carrying  and  singing  quality  " 
of  the  Mason  &  Hamlin.    Moriz  Rosenthal  is  ''  enchanted  "  with 


Teresa  Carreno 


Oh 


PL, 


VALUE  OF  TESTIMONIALS 


399 


Bosendorfer,  uses  the  Stein- 
way  with  great  satisfaction 
and  considers  the  AVeber 
''  sublime."  Sofie  Menter 
plays  the  Erard,  describes 
the  volume  of  tone  in  the 
Steinway  as  ''  tremendous," 
and  tells  Bosendorfer  that 
'^  nothing  gives  her  greater 
pleasure  than  to  play  on  his 
pianos."  Paderewski  made 
his  reputation  with  the  Stein- 
way,  and  has  words  of  praise 
for  the  Erard  and  Weber. 
Josef  Hofmann,  who  played 
the  Weber  on  his  first  Amer- 
ican tour  and  the  Schroder 
while  studying  with  Eubinstein,  says,  "  I  use  the  Steinway  because 
I  know  it  is  the  best. ' ' 

And  so  forth  ad  infinitum!  All  of  which  goes  to  prove  that  the 
leaders  in  the  piano  industry  keep  abreast  of  the  times  and  know 
how  to  build  pianos  to  satisfy  the  great  exponents  of  the  art  of 
piano  playing.  Why  should  a  piano  virtuoso  confine  himself  to 
one  make  of  piano  ?  The  violin  virtuoso  plays  on  a  Stradivarius, 
Amati,  Guarnerius,  a  Yuillaume,  Bausch  or  Gemiinder — all  of  them 
master  builders. 

It  is  true  that  in  some  instances,  and  especially  in  America,  the 
piano  maker  has  to  assume  the  role  of  financial  backer  of  a  piano 
virtuoso's  concert  journey,  because  the  artist  must  have  a  guar- 
antee, but  that  does  not  involve  dishonest  public  expression  of 
opinion  regarding  the  value  of  the  piano  used  by  the  virtuoso.    If 


I.  J.  Paderewski 


400 


PIANOS  AND  THEIR  MAKERS 


^  the  piano  is  not  of  the  high- 
est order,  the  artist  cannot 
afford  to  use  it,  no  matter 
what  financial  consideration 
might  be  offered,  because,  if 
he  should  use  a  poor  piano 
in  his  concerts,  his  own 
reputation  as  a  performer 
might  be  ruined. 

Since  the  piano  manufac- 
turer craves  the  indorse- 
ment of  leading  performers, 
he  naturally  is  exceedingly 
liberal  in  his  treatment  of 
artists.  He  willingly  as- 
sumes all  the  risks  of  a  con- 
cert journey,  sends  his  pi- 
anos for  the  use  of  the  artist  wherever  he  may  require  them  and 
is  solicitous  for  the  artist's  personal  comfort,  just  as  Nannette 
Stein-Streicher  cared  for  Beethoven  170  years  ago.  Modern 
piano  makers  go  beyond  that.  They  assume  all  the  risk, 
willingly  granting  to  the  artist  all  possible  benefits.  It  is  of 
record  that  not  many  years  ago  a  piano  house  made  a  con- 
tract with  a  pianist,  guaranteeing  him  $30,000  for  a  season's 
concert  journey,  no  matter  what  the  proceeds  might  be.  It  was 
a  gamble,  because  the  artist  was  entirely  unknown  in  America. 
The  guaranteed  sum  was  more  than  the  artist  had  earned  in  his 
entire  career,  and  he  was,  of  course,  elated  over  his  good  fortune. 
Then,  how  surprised  was  he  when,  at  the  end  of  his  journey,  the 
piano  maker  handed  him  his  check  for  an  additional  $15,000,  be- 
cause the  concerts  had  drawn  full  houses,  for  which  fact  the  in- 


Josef  Hofraann 


VALUE  OF  TESTIMONIALS  401 

telligent  and  bold  advertising  of  the  piano  house,  to  a  large 
extent,  deserved  the  credit.  The  artist's  name,  fame  and  fortune 
were  made  in  his  first  American  season. 

The  virtuoso  who  plays  the  piano  is  the  expert,  capable  of 
rendering  judgment  as  to  quality  and  volume  of  tone,  touch,  etc. 
His  favorable  testimonial  is  desirable  and  becomes  valuable 
through  its  influence  upon  the  piano-buying  public.  The  fact  that 
every  virtuoso  willingly  gives  his  indorsement  to  many  pianos, 
all  of  which  he  has  tested  in  his  concert  work,  does  not  detract 
from  the  value  of  the  testimonial.  On  the  contrary,  it  enhances 
the  same,  to  the  interest  of  the  industry.  The  value  of  artists' 
testimonials  has  ever  been  an  incentive  to  progressive  piano  makers 
to  improve  their  instruments  so  that  the  greatest  virtuoso  cannot 
well  refuse  to  play  upon  them. 


PART  FIVE 


CHAPTER  I 


National  Associations  of  Manufacturers  and  Dealers  in  Europe 
and  America. 


PART    FIVE 

CHAPTER  I 

NATIONAL  ASSOCIATIONS  OF  MANUFACTURERS  AND 

DEALERS 

WHEN,  through  the  advance  of  the  factory  system,  the 
guilds  of  the  various  trades  disappeared,  no  otlier  or- 
ganization took  their  place  for  a  long  time,  and, 
instead  of  the  old-time  harmony  of  the  members  of  an  industry, 
the  rivalry  became  so  intense  that  competitors  in  business  looked 
upon  each  other  as  enemies.  Once  in  a  while  a  strike  on  the 
part  of  the  workingmen  would  bring  the  bosses  together  for  a 
consultation,  but  even  those  meetings  usually  lacked  harmony. 
However,  the  evident  solidarity  of  interests  finally  forced  a  closer 
connection  and  we  learn  of  the  organization  of  the  ''  Chambre 
Syndicate  of  Manufacturers  of  Pianos  "  and  the  *'  Chambre  Syn- 
dicate of  Manufacturers  of  Musical  Instruments,"  of  Paris  in  1853. 
Both  chambers  were  merged  into  one  organization  in  1889  under 
the  name  of  "  Chambre  Syndicate  of  Manufacturers  of  Musical 
Instruments."  This  organization  was  presided  over  by  Mons. 
Thibouville-Lamy  until  1896,  since  which  time  Mons.  Gustave  Lyon 
of  Pleyel,  Lyon  &  Company  has  been  acting  as  i)resident. 

The  object  and  purpose  of  this  association  is  defined  in  its 
constitution  as  follows: 

405 


406 


PIAXOS  AND  THEIR  MAKERS 


Gustave  Lvon 


(1)  To  strengthen  the  re- 
lations between  all  the  mem- 
bers of  the  industry. 

(2)  To  facilitate  the  de- 
velopment of  their  pros- 
perity. 

(3)  To  support  all  claims 
and  requests  regarding  du- 
ties, taxes,  railroad  and  in- 
surance rates,  etc. 

(4)  To  furnish  members 
information  regarding  the  fi- 
nancial standing  of  clients, 
and  finally  to  maintain 
loyalty  and  dignity  in  their 
commercial  relations.  The 
annual  dues  are  20  francs 
for  each  member.     Xo  for- 


eign manufacturer  can  belong  to  the  chamber  until  he  has 
been  established  in  France  10  years  and  the  majority  of  his 
products  are  manufactured  in  France.  The  officers  are :  a 
president,  two  vice-presidents,  a  secretary-general,  a  keeper  of 
records,  a  treasurer  and  an  assistant  secretary.  The  election  of 
officers  is  held  annually.  The  organization  is  divided  into  five 
groups,  as  follows: 

(1)  Piano   Industry    (pianos    and   organs). 

(2)  Wind  Instruments   (wood  and  brass). 

(3)  String  Instruments  (violins,  etc.). 

(4)  Supplies. 

(5)  Automatic  Instruments. 

Each  group  has  its  own  organization,  with  a  president  and 
secretary. 


NATIONAL  ASSOCIATIONS 


407 


In  case  of  differences 
among-  members,  with  each 
other  or  with  outsiders  in 
connection  with  tlie  industry, 
the  president  a})points  a 
committee  of  arbitration, 
whose  members  shall  act  as 
friendly  advisers  to  the  dis- 
puting parties.  All  decisions 
of  the  chamber  are  subject 
to  the  vote  of  the  majority. 
Every  member  must  pay 
special  dues  of  12  francs  an- 
nually to  meet  extraordinary 
expenses  and  strengthen  the 
treasury. 

Austria  has  no  national 
organization    of    the    music 

trades,  but  a  number  of  local  associations,  of  which  the 
"  Association  of  Musical  Instrument  Makers  of  Grasslitz  "  is 
the  oldest.  It  was  founded  in  1883,  has  over  300  members  and 
supports  a  school  in  which  young  men  are  taught  the  technical 
and  practical  making  of  instruments. 

The  Vienna  piano  and  organ  makers  formed  an  association  in 
1905.  Its  aims  and  purposes  are  similar  to  those  of  the  ''  Paris 
Chambre  Syndicale."  Franz  Schmidt  is  acting  president  and 
Friedrich  Ehrbar,  one  of  the  directors.  Ludwig  Bosendorfer  is 
the  only  honorary  member  of  the  body. 

Germany  has  a  large  number  of  associations  for  the  various 
branches  of  the  music  industries.  The  ''  Association  of  Piano 
Manufacturers  "  was   organized  at   Leipsic  in   1893  with  Adolf 


Adolf  Sehiedmayer 


408 


PIANOS  AND  THEIR  MAKERS 


Scliiedmayer  as  president. 
The  "  Clmrch  Organ  Build- 
ers "  followed  in  1895, 
''  Musical  Instrument  Mak- 
ers "  in  1897  and  the  "  Pi- 
ano Dealers  "  in  1899.  The 
"  National  Association  of 
Piano  Manufacturers  "  pur- 
sues the  same  objects  as  its 
Paris  contemporary,  but  in 
addition  thereto  has  entered 
upon  an  effective  policy  of 
practical  aid  to  its  mem- 
bers. It  is,  for  instance, 
compulsory  for  each  manu- 
facturer to  educate  a  num- 
ber of  apprentices  propor- 
tionate to  the  number  of  men  employed  in  his  factory.  The  ener- 
getic president  of  the  association,  Priyy  Commercial  Counselor 
Adolf  Schiedmayer  of  Stuttgart,  is  organizing  a  trade  school  for 
piano  makers  in  that  city,  to  assure  the  education  of  young  men  in 
the  scientific  theories  and  practice  of  piano  building.  This  is  the 
first  institution  of  its  kind,  and  when  fully  established  will  be  of 
great  service  to  the  industry  at  large.  The  school  is  mainly  sup- 
ported by  contributions  from  members  of  the  associations  and 
enjoys  the  protection  and  aid  of  the  royal  government  of 
Wurtemburg. 

The  ''  National  Association  of  Piano  Dealers,"  with  head- 
quarters at  Leipsic,  has,  from  its  inception,  imder  the  able  leader- 
ship of  President  Carl  Andre  of  Frankfort,  a./M.,  inaugurated 
and  carried  on  a  most  energetic  campaign  against  fraudulent  ad- 


Carl  Andre 


NATIONAL  ASSOCIATIONS  409 

vertising,  sham  sales  and  all  dishonest  or  disreputable  methods 
l)revalent  in  the  i)iano  trade,  with  excellent  results.  The  associa- 
tion has  o44  active  members  and  maintains  a  bureau  of  informa- 
tion, publishing  periodically  confidential  circulars  containing  rec- 
ords of  objectionable  people  dealing  in  ])ianos  and  other  trade 
notices. 

In  October,  1908,  the  various  organizations  formed  the  "  Na- 
tional Association  of  Musical  Instrument  Industries,"  without, 
however,  disturbing  the  existing  organizations.  This  national 
association  has  its  headquarters  at  Leipsic  and  is  subdivided  ter- 
ritorially into  three  sections,  with  bureaus  at  Leipsic,  Berlin  and 
Stuttgart.  The  management  is  in  the  hands  of  a  president,  Adolf 
Schiedmayer  of  Stuttgart;  a  vice-president  and  treasurer,  Her- 
mann Feurich  of  Leipsic,  and  a  vice-president  and  secretary.  Max 
Bliithner  of  Leipsic.  The  main  purpose  of  this  association  is  to 
represent  the  entire  industries  as  a  body  in  matters  of  tariff  laws, 
transportation,  factory  regulations,  etc.,  seeking  to  harmonize  the 
needs  and  wants  of  the  various  special  organizations  of  the  Ger- 
man Empire. 

The  "  Music  Trade  Association  of  Great  Britain  "  was  or- 
ganized in  March,  1886,  with  Sir  Herbert  Marshall  as  president. 
The  principal  object  of  this  association  is  "  to  extend  a  watchful 
regard  over  all  matters  affecting  the  retail  trade  and  to  give 
timely  information  to  the  members,"  and,  further,  "  to  hold  con- 
ferences for  the  interchange  of  views  on  questions  of  general  trade 
interest,  and  generally  to  co-operate  and  take  such  combined  action 
in  defense  of  the  just  interests  of  the  retail  trade  as  may  be  found 
needful." 

The  "  Pianoforte  Manufacturers'  Association  "  of  Loudon, 
founded  in  1887 — George  D.  Rose,  president — has  as  its  object: 
"  To  promote  and  protect  the  various  interests  of  the  music  trade 
generally,  to  i^romote  and  supj^ort  or  oppose  legislative  or  other 


410  PIANOS  AND  THEIR  MAKERS 

measures  affecting  the  aforesaid  interests ;  to  secure  the  more  eco- 
nomical and  effectual  winding  up  of  the  estates  of  bankrupts  or 
insolvent  debtors;  to  endeavor  to  secure  prosecution  of  fraudulent 
debtors,  and  to  undertake,  if  requested  by  both  parties,  settlement 
by  arbitration." 

In  the  United  States  the  piano  manufacturers  of  New  York 
organized  the  first  association  in  the  fall  of  1890.  William  E. 
Wheelock  was  elected  first  president  and  served  until  1893.  Later 
on  a  number  of  local  associations  of  piano  manufacturers  and 
dealers  were  organized  who  combined  in  August,  1897,  to  form  the 
"  National  Piano  Manufacturers'  Association  of  America."  Its 
object  is  the  furtherance  of: 

(1)  A  better  acquaintance  among  the  members  of  the  trade, 
good-fellowship  and  interchange  of  views  on  topics  of  mutual 
concern. 

(2)  The  ethics  of  the  piano  trade. 

(3)  Territorial  rights  of  manufacturers  and  dealers  in  regard 
to  selling  pianos. 

(4)  A  uniform  warranty. 

(5)  The  products  of  supply  houses :  i.e.,  the  question  of  stamp- 
ing the  manufacturer's  name  upon  piano  parts  furnished  by  the 
supply  houses  to  the  trade. 

(6)  The  relation  of  the  manufacturers  to  the  music-trade 
press. 

(7  and  8)  To  obtain  reductions  in  insurance  and  transportation 
rates. 

(9)  The  establishment  of  a  bureau  of  credits. 

(10)  Legislation  by  united  action;  that  more  uniform  laws 
shall  be  enacted  in  several  States  regarding  conditional  sales,  and 
such  other  matters  of  importance  to  the  piano  trade  as  may  come 
up  from  time  to  time. 


Presidents  of  the  National  Association  of  Piano  Manufacturers  of  America  from 

1897  to  1911 


Presidents  of  the  National  Association  of  Piano  Dealers  of  America  from  1902  to  1911 


NATIONAL  ASSOCIATIONS  411 

The  association  is  goverued  by  a  president,  two  vice-presidents, 
a  treasurer,  secretary  and  assistant  secretary.  Contrary  to  the 
European  system,  where  officers,  once  elected,  are  reguhirly  re- 
elected as  long  as  they  are  able  to  attend  to  their  duties  with  effi- 
ciency, this  association  changes  its  governing  board  (with  the 
exception  of  the  assistant  secretary)  annually. 

The  "  National  Association  of  Piano  Dealers  of  America  "  was 
organized  in  ^fay,  1902.  Its  object  is  tersely  stated  in  its  consti- 
tution, as  follows : 

"  The  object  of  this  association  shall  be  the  mutual  elevation 
of  trade  interests."  Its  by-laws  provide  for  the  following  board: 
a  president,  four  vice-presidents,  a  commissioner  for  each  State 
and  Territory  (to  be  known  as  state  commissioners),  a  secretary, 
a  treasurer,  and  an  executive  board  consisting  of  the  president, 
secretary,  treasurer  and  four  members  of  the  association.  The 
officers  are  elected  at  the  annual  meeting  and  usually  a  new  set 
is  chosen  each  year.  The  membership  is  divided  into  active  and 
associate  members.  The  latter  class  takes  in  any  one  engaged  in 
any  branch  of  the  musical  industry  not  otherwise  eligible.  The 
annual  dues  are  $10  for  active  and  $5  for  associate  members.  The 
association  has  a  membership  of  over  1,000,  and  has  done  very 
effective  work  in  guarding  the  ethics  of  the  i)iano  trade,  and  is 
making  strenuous  efforts  for  the  general  introduction  of  the  one- 
price  system. 

National  piano  exhibitions  have  lately  been  held  in  connection 
with  the  annual  dealers'  conventions,  apparently  to  the  benefit  of 
both  dealers  and  manufacturers. 


PART  FIVE 

CHAPTER  II 
The  Trade  Press — Its  Value  to  the  Industry. 


PART    FIVE 

CHAPTER  II 

THE  TRADE  PRESS— ITS  VALUE  TO  THE  INDUSTRY 

* 

IX  America  the  piano-trade  press  evolved  slowly  and,  after 
many  interruptions  from  so-called  musical  journals,  the  first 
of  which,  the  "  American  Musical  Journal,"  was  founded 
in  1835.  It  carried  some  advertisements  of  piano  manufacturers 
and  would  publish,  off  and  on,  items  which  at  that  time  were  con- 
sidered trade  news. 

In  1843  Henry  C.  Watson  established  his  "  Musical  Chronicle  " 
in  Xew  York.  "Watson  was  a  most  remarkable  man,  equally  gifted 
and  learned  as  a  musician  as  he  was  as  a  writer,  and  withal  a  man 
of  business.  He  saw  the  necessity  of  enlisting  the  active  support 
of  the  piano  manufacturers  for  his  journal  and  endeavored  hon- 
estly to  render  value  for  such  support.  Thus  Watson  became  the 
founder  of  piano-trade  journalism.  It  is  to  be  regretted  that  space 
does  not  permit  a  complete  record  of  the  brilliant  career  of  this 
interesting  character. 

Born  in  Loudon  on  November  4,  1818,  he  appeared  at  Covent 
Garden  in  "  Oberon  "  at  the  age  of  nine,  singing  the  part  of  a 
"  fairy."  In  1841  he  came  to  New  York,  welcomed  by  such  men 
as  William  Cullen  Bryant,  Horace  Greeley  and  others  of  like  stand- 
ing. He  was  immediately  engaged  as  a  musical  critic  for  the 
"  New  World,"  then  edited  by  Greeley.  Besides  his  duties  as  a 
critic  and  also  writing  lyrics  and  composing  songs,  Watson  man- 

415 


416 


PIANOS  AND  THEIR  MAKERS 


aged  to  publish  the  ' '  Broad- 
way Journal,"  enlisting  Ed- 
gar Allan  Poe  as  editor.  He 
found,  however,  his  real  field 
of  usefulness  in  his  "  Mu- 
sical Chronicle, ' '  in  which  he 
interested  Jonas  Chickering 
as  well  as  the  leaders  among 
the  New  York  piano  manu- 
facturers. He  had  discovered 
that  the  interests  of  musical 
art  and  the  interests  of  the 
piano  industry  were  interde- 
pendent and  that  the  one 
must  support  the  other  for 
mutual  benefit.  He,  there- 
fore, devoted  considerable 
energy  to  the  propaganda  of  the  piano.  In  course  of  time  he 
changed  the  title  of  his  publication  to  ''  Musical  Times," 
•'  Philharmonic  Journal  "  and  finally  to  *'  The  American 
Art  Journal."  He  was  one  of  the  founders  of  the  Philharmonic 
Society  and  also  organized  the  Mendelssohn  Union  of  New 
York. 

As  musical  critic  of  the  "  New  York  Tribune  "  and  editor-in- 
chief  of  "  Frank  Leslie's  Illustrated  Newspaper,"  AVatson  was  for 
many  years  one  of  the  pillars  of  musical  life  in  America.  He  died 
on  December  4,  1875,  at  the  age  of  57.  "  The  American  Art  Jour- 
nal "  was  continued  by  Watson's  pupil,  William  M.  Thoms,  until 
his  retirement  in  1906. 

The  "  Music  Trade  Review,"  founded  in  November,  1875,  by 
John  C.  Freund,  appeared  for  about  two  years;  it  was  followed 
in  1878  by  the  "  Musical  Times,"  which  soon  changed  to  ''  Musical 


Henry  C.  Watson 


THE  TKADE  PRESS  417 

and  Dramatic  Times."  In  1881  Freund  started  a  journal  called 
"  Music,"  which  title  was  changed  to  "  Music  and  Drama." 
"  Freund 's  Weekly  "  appeared  in  1881:.  Soon  changed  to  ''  Music 
and  Drama."  In  1887  Freund  joined  J.  Travis  Quigg  in  publish- 
ing the  ''  American  Musician,"  and  in  1893  he  started,  with  Milton 
"Weil,  ''  Music  Trades." 

Charles  Avery  Wells  established  the  ''  ^fusic  Trade  Journal  " 
in  1876,  which  he  changed  to  the  "  Musical  Critic  and  Trade  Re- 
view "  in  1879.  In  January,  1888,  Edward  Lyman  Bill  bought  an 
interest  in  the  journal  and  soon  became  sole  owner.  He  changed 
it  from  a  fortnightly  to  a  weekly,  under  the  title  of  "  Music  Trades 
Review,"  making  it  the  first  trade  paper  published  in  America 
devoted  exclusively  to  the  music  industries.  He  has  also  published 
several  valuable  treatises  on  piano  construction,  in  book  form, 
which  are  enumerated  elsewhere. 

In  1880  Harry  E.  Freund  began  to  conduct  a  journal  called 
'^  Music  and  Drama,"  which  title  he  later  changed  to  "  Musical 
Age." 

William  E.  Nickerson  started  the  "  ^lusical  and  Dramatic 
News  "  in  1877.  It  went  into  the  hands  of  the  Lockwood 
Press,  who  sold  the  same  to  Marc  A.  Blumenberg  in  1881,  and 
the  name  was  changed  to  "  Musical  Courier."  In  1897  Blumen- 
berg separated  the  musical  and  industrial  departments, 
publishing  the  "  Musical  Courier  Extra  "  strictly  as  a  trade 
edition. 

"  The  Indicator,"  established  by  Orrin  L.  Fox  at  Chicago  in 
1880,  devoted  to  the  liberal  arts  and  art  industries,  was  changed 
into  an  organ  for  musical  industries  exclusively,  being  the  first 
in  the  field  to  make  effective  propaganda  for  the  piano  industry  of 
the  west. 

''  The  Presto  "  was  founded  at  Chicago  by  Frank  A.  Abbott  in 


418  PIANOS  AND  THP^IK  MAKERS 

1883.  The  ''  Presto  Year  Book  "  is  a  very  valuable,  historical 
compendiuni  of  trade  events.  Abbott  associated  himself  in  1894 
with  C.  A.  Daniel],  who  liolds  the  responsible  position  as  editor-in- 
chief  of  the  various  Presto  publications. 

The  "  Chicago  Musical  Times  "  was  started  by  William  E. 
Nickerson  in  1885,  and  has  been  developed  to  its  present  com- 
manding position  by  C.  B.  Harger,  who  acquired  control  in  1895. 

George  B.  Armstrong  established  his  dignified  monthly  jour- 
nal, ''  The  Piano  Trade,"  at  Chicago  in  1903. 

In  1910  C.  A.  Daniell  assumed  the  management  of  the  ''  Piano 
Magazine,"  an  illustrated  monthly  published  in  New  York  City. 
This  publication  treats  mainly  of  the  historical,  musical  and  tech- 
nical aspects  of  the  piano  and  allied  musical  industries  in  an  enter- 
taining manner,  thus  differing  from  the  trade  journals  which  deal 
mainly  with  the  news  of  the  day. 

The  "  Zeitschrift  fiir  Instrumentenbau  "  was  established  by 
Paul  de  Wit  at  Leipsic  in  1880  and  has  a  wide  circulation  all  over 
Europe. 

The  ''  Welt-Adressbuch  "  of  musical  industries,  compiled  and 
published  by  Paul  de  Wit,  is  a  most  valuable  reference  book.  It 
contains  the  names  of  all  the  firms  connected  in  any  way  with 
musical  industries  in  all  parts  of  the  world. 

The  "  Musik  Instrumenten-Zeitung,"  published  in  Berlin,  was 
started  in  1890. 

In  England  the  "  London  and  Provincial  Music  Trades  Ee- 
view  "  was  established  in  London  in  1877;  ''  Musical  Opinion  and 
Music  Trade  Eeview,"  also  a  monthly  publication,  often  contains 
valuable  contributions  of  interest  to  the  piano  trade.  "  The  Piano 
Journal  "  is  a  monthly  devoted  entirely  to  the  interests  of  piano 
makers  and  dealers.  The  monthly  journal,  "  Music,"  also  makes 
reference  to  trade  topics. 


THE  TRADE  PKESS  419 

The  Importance   and   Value   of  the   Trade  Press   to   the   Piano 

Industry 

As  the  government  of  a  nation  is  only  the  reflex  of  tlie  indi- 
viduals composing  the  nation,  so  is  the  trade  press  the  reflex  of 
the  individuals  composing  an  industry.  The  character  of  a  trade 
press  is  stamped  upon  it  by  its  patrons.  The  earlier  i)iano-trade 
papers,  after  Watson's  time,  allowed  themselves  to  be  used  by  a 
group  of  firms,  from  which  they  received  liberal  financial  support. 
This  tended  to  demoralization,  and  the  cry  of  blackmail  was  heard. 
The  papers  depending  on  this  one-sided  support  had  a  precarious 
existence,  and  had  to  go  to  the  wall  whenever  the  extra  subsidy  was 
withheld.  Questionable  methods  were  resorted  to,  off  and  on,  to 
compel  more  liberal  financial  support  from  the  j^iano  makers. 

The  conditions  existing  in  the  piano  trade  some  30  years  ago 
were  such  as  really  to  infect  part  of  the  trade  press  with  the 
bacillus  of  coercion.  But,  after  all,  the  papers  which  did  pursue 
a  policy  of  coercion  became  unconsciously  "  ein  theil  von  jener 
kraft,  die  boses  will  und  gutes  schafft."  Repeated  failures  of  the 
most  aggressive  papers  of  that  character  proved  the  error  of 
playing  champion  for  one  or  more  firms,  and  the  various  later 
publications  started  out  with  the  pronounced  policy  of  aiding  the 
entire  industry  and  injuring  none.  Success  followed  this  policy, 
and  the  piano  trade  of  to-day  has  in  its  trade  press  a  great  help- 
mate which  is  worthy  of  the  support  it  enjoys. 

It  is  altogether  wrong  to  consider  the  support  of  a  clean  trade 
paper  as  a  tax.  Every  laborer  is  worthy  of  his  hire,  and  the  more 
liberally  the  trade  press  is  supported  the  better  service  it  can 
render,  a  service  needed  by  the  trade  and  obtainable  only  through 
a  well-organized  press. 

That  music-trade  journalism  is  an  honorable  profession  has 


420  PIANOS  AND  THEIR  MAKERS 

been  demonstrated  by  its  founder,  Henry  C.  Watson,  who  enjoyed 
the  respect  and  warm  friendship  of  his  supporters  as  well  as  that 
of  the  community  at  large.  The  value  of  an  honest  and  able  trade 
press  is  almost  unmeasurable  in  the  coin  of  the  realm.  From  year 
to  year  the  piano-trade  press  has  grown  in  dignity  and  usefulness, 
and,  just  as  soon  as  the  industry  itself  gets  entirely  upon  the 
plane  of  legitimate  business  methods,  whatever  may  be  objection- 
able in  the  trade  press  of  to-day  will  then  of  necessity  die  its  nat- 
ural death. 


PART  FIVE 

CHAPTER  III 

Literature  on  the  Pianoforte 


PART   FIVE 

CHAPTER  III 
LITERATURE  ON  THE  PIANOFORTE 

THE  first  attempt  to  write  a  history  of  the  pianoforte  was 
made  in  1830  by  M.  Fetis,  "  Sketch  of  the  History  of  tlie 
Pianoforte  and  the  Pianists,"  a  laborious  effort  by  a  bril- 
liant writer,  but  of  little  value  to  the  piano  maker. 

Kusting's  "  Practisches  Handbuch  der  Pianoforte  Baukunst," 
Berne,  18-4-1,  is  a  more  practical  treatise  than  Fetis'  attempt,  but 
antiquated  and  only  of  interest  to  the  historian.  The  same  may  be 
said  of  the  interesting  work  of  Professor  Fischhof,  ''  Versuch 
einer  Geschichte  des  Clavierbaues,"  Vienna,  1853. 

AVelcker  von  Gontershausen  published  in  1860  ' '  Der  Clavierban 
in  seiner  Theorie,  Technik  und  Geschichte,"  a  fourth  edition  of 
which  was  printed  in  1870  by  Christian  Winter,  Frankfurt  a.  M. 

As  a  practical  piano  maker,  fairly  well  posted  on  the  laws  of 
acoustics  and  thoroughly  acquainted  with  the  characteristics  of  all 
known  musical  instruments,  Welcker  has  given  a  work  of  interest 
and  value.  It  is  to  be  regretted  that  his  extreme  patriotism  and 
rather  biased  opinion  do  not  permit  him  to  do  full  justice  to 
pianos  made  in  other  countries  than  Germany.  Aside  from  this 
fault,  his  book  is  to  be  recommended  to  the  studious  piano  maker 
as  well  as  the  student  of  musical-instrument  lore. 

Dr.  Ed.  F.  Rimbault  published  in  1860,  in  London,  his  ambitious 
work,  "  The  Pianoforte."    Written  at  the  time  when  the  English 

423 


424  PIANOS  AND  THEIR  MAKERS 

piano  industry  was  at  its  height,  it  is  pardonable  that  the  author 
laid  his  emphasis  on  English  efforts  and  achievements  rather  at 
the  expense  of  the  French,  German  and  Austrian  schools.  It  must 
be  assumed  that  the  achievements  of  the  latter  were  not  known 
to  him  in  their  entirety  and  importance.  Especial  credit  is,  how- 
ever, due  to  Rimbault  for  having  produced  documentary  evidence 
of  Christofori's  priority  as  inventor  of  the  pianoforte. 

G.  F.  Sievers  of  Naples,  an  able  piano  maker,  published  in  1868 
his  "  II  Pianoforte  Guida  Practica,"  with  a  special  atlas  showing 
piano  actions  in  natural  size  and  therefore  of  great  value  to  the 
piano  student. 

Dr.  Oscar  Paul,  a  professor  at  the  Conservatory  of  Music  in 
Leipsic,  wrote  in  1868,  "  Geschichte  des  Claviers."  The  learned 
professor  of  music  failed  to  do  justice  to  the  title  of  his  book. 
Entirely  unacquainted  with  the  practical  art  of  piano  making,  he 
assumes  an  authority  which  is  amusing  to  the  knowing  reader. 
Like  Welckers,  Dr.  Paul  suffers  too  much  from  German  egotism. 
All  through  the  book  the  effort  of  ascribing  all  progress  in  piano 
construction  to  his  countrymen  is  painfully  palpable,  he  even  go- 
ing so  far  as  to  imply  that  Christofori  had  copied  Schroter's  in- 
vention, an  effort  which  demonstrates  Paul's  ignorance  of  action 
construction.  However,  the  book  contains  sufficient  good  matter 
to  repay  reading  it.    Published  by  A.  H.  Payne,  Leipsic. 

For  the  practical  piano  maker  who  reads  German,  the  ''  Lehr- 
buch  des  Pianofortebaues,"  by  Julius  Bliithner  and  Heinrich 
Gretschel,  published  in  1872  and  revised  by  Robert  Hannemann  in 
1909,  Leipsic,  Bernh.  Friedr.  Voigt,  offers  much  valuable  infor- 
mation, treating  with  great  care  the  construction  of  the  piano  and 
the  materials,  tools  and  machinery  used  in  the  manufacturing  of 
the  instrument.  It  also  has  a  short  essay  on  acoustics  written  by 
Dr.  Walter  Niemann,  who  furthermore  contributes  a  history  of  the 
piano  up  to  the  time  of  the  general  introduction  of  the  iron  frame. 


LITERATURE  ON  THE  PIANOFORTE  425 

Edgar  Brinsmead's  "  History  of  the  Pianoforte,"  London,  1889, 
dwells  too  much  upon  the  achievements  of  the  firm  of  Brinsmead 
&  Sons  and  loses  all  importance  when  compared  to  A.  J.  Hipkins' 
**  Description  and  History  of  the  Pianoforte,"  published  by  No- 
vello  &  Conii)any,  London,  1890.  An  earnest  schohir  and  careful 
writer,  Hipkins  successfully  avoids  the  many  pitfalls  of  the  lexicog- 
raphers and  gives  a  clear  and  succinct  description  of  the  develop- 
ment of  the  i)iano  from  its  earliest  stages  to  the  modern  concert 
grand.  The  book  is  well  worth  careful  perusal  by  anyone  inter- 
ested in  the  piano  industry. 

Daniel  Spillane's  "  History  of  the  American  Pianoforte,"  New 
York,  1890,  is  an  interesting  compendium  showing  the  development 
of  the  piano  industry  in  the  new  world,  with  sidelights  upon  the 
men  who  have  been  most  jn'ominent  in  that  sphere. 

Edward  Quincy  Norton,  a  piano  maker  of  long  and  manifold 
experience,  wrote  his  "  Construction  and  Care  of  the  Pianoforte  " 
in  1892.  This  book,  published  by  Oliver  Ditson  &  Company  of 
Boston,  contains  valuable  suggestions  for  tuners  and  repairers, 
and  is  still  meeting  with  a  ready  sale. 

The  more  modern  books,  "  Piano  Saving  and  How  to  Accom- 
plish It,"  by  Edward  Lyman  Bill,  and  "  The  Piano,  or  Tuner's 
Guide,"  by  Spillane,  also  William  B.  White's  books,  ''  Theory  and 
Practice  of  Pianoforte  Building,"  "  A  Technical  Treatise  on  Piano 
Player  IMechanism,"  "  Regulation  and  Repair  of  Piano  and 
Player  Mechanism,  Together  with  Tuning  as  Science  and  Art  " 
and  "  The  Player  Pianist,"  all  published  by  Edward  Lyman  Bill, 
New  York,  have  found  wide  circulation  among  practical  piano 
makers  because  of  their  poi)ular  treatment  of  intricate  subjects. 
All  of  these  books  are  almost  indispensable  for  a  conscientious 
tuner  and  repairer. 

Among  the  strictly  scientific  works,  John  Tyndall's  treatise  on 
""  Sound  "  and  Helmholtz'  ''  Sensation  of  Tone  "  offer  much  food 


426 


PIANOS  AND  THEIR  MAKERS 


tU^fjI'-u^ed^  oka. 


i^y^'^'i^^no 


for  thought  to  the  student 
of  acoustics,  although  Helm- 
holtz's  originally  much- 
lauded  "  Tone  Wave  The- 
ory," as  well  as  his  so- 
called  discovery  of  the  "  Ear 
Harp,"  have  been  vigorously 
attacked  by  Henry  A.  Mott 
in  his  book,  ''  The  Fallacy 
of  the  Present  Theory  of 
Sound  "  (New  York,  John 
AViley  &  Sons),  and  by 
Siegfried  Hansing  in  "  Das 
Pianoforte  in  seinen  akus- 
tischen  Anlagen,"  New 
York,  1888,  revised  edition, 
Schwerin  i./M.,  1909. 

Hansing 's  work  is  be- 
yond question  the  most  important,  so  far  written,  on  the  construc- 
tion of  the  pianoforte.  His  studies  in  the  realm  of  acoustics 
disclose  a  most  penetrating  mind  capable  of  exact  logical  rea- 
soning. He  bases  his  conclusions  on  exhaustive  studies,  without 
regard  to  the  accepted  theories  of  earlier  scientists.  As  a  thor- 
oughly practical  piano  maker  and  master  of  his  art,  Hansing 
studied  cause  and  effect  in  its  application  to  the  piano,  and  his 
book  is  a  rich  mine  of  information  for  the  prospective  piano 
designer  and  constructor.  Free  from  any  business  affiliations,  he 
treats  his  subject  with  an  impartial  and  unbiased  keenness  of 
perception  which  is  at  once  impressive  and  convincing. 

Dr.   Walter    Niemann's    ''Das    Klavierbuch,"    C.    F.    Kahnt 
Nachfolger,  Leipsic,  is  an  entertaining  little  book  on  the  piano,  its 


LITERATUliE  OX  THE  riAXOFORTE  427 

music,  composers  and  virtuosos,  containing  many  illustrations  of 
rare  and  valuable  pictures  of  noted  artists  playing  the  piano. 

Henry  Edward  Krebbiel's  more  pretentious  and  serious  work, 
"  The  Pianoforte  and  Its  Music,"  Scribner,  New  York,  1911,  is 
a  valuable  work  of  interest  to  the  student  of  the  piano,  the  musician 
and  music  lover. 

Of  special  interest  to  the  studious  piano  maker  are  the  cata- 
logues of  old  instruments  collected  by  Morris  Steinert  of  Xew 
Haven  and  Paul  de  Wit  of  Leipsic.  "  M.  Steinert 's  Collection  of 
Keyed  and  Stringed  Instruments  "  is  the  title  of  a  book  published 
by  Charles  F.  Tretbar,  Steinway  Hall,  Xew  York.  It  contains  ex- 
cellent illustrations  of  the  clavichords,  spinets,  harpsichords  and 
claviers  which  Steinert  has  discovered  in  his  searches  covering  a 
period  of  40  years.  The  illustrations  are  supplemented  by  a  mi- 
nute description  of  each  instrument.  A  concise  history  of  the 
development  of  the  piano  and  illustrations  with  explanatory  text 
of  Steinert 's  collection  of  violins,  etc.,  complete  the  volume. 

In  "  Reminiscences  of  Morris  Steinert,"  compiled  by  Jane 
Martin,  G.  P.  Putnam's  Sons,  Xew  York,  1900,  Steinert  gives  in- 
teresting and  amusing  accounts  of  his  experiences  hunting  old 
instruments  in  America  and  foreign  countries.  Steinert,  a  gifted 
and  many-sided  musician  by  profession,  became  a  dealer  in  musical 
instruments,  especially  pianos,  and  founded  the  great  house  of  M. 
Steinert  &  Sons,  with  headquarters  at  Boston  and  branch  stores 
in  leading  cities  of  Xew  England.  The  firm  also  controls  the 
Hume  and  the  Jewett  piano  factories. 

The  "  Katalog  des  Musikhistorischen  Museums  von  Paul  de 
"Wit,  Leipsic,"  published  by  Paul  de  Wit,  1904,  is  the  most  com- 
plete compendium  in  existence,  describing  old  instruments  of  all 
kinds,  their  origin  and  makers.  Although  this  catalogue  is  profusely 
illustrated,  De  "Wit  published  in  addition  a  most  artistic  album, 
"  Perlen  aus  der  Instrumenten  Sammlung,"  von  Paul  de  "Wit, 


Morris  Steinert  at  the  Clavichord 


f^- 


c 


428  PIANOS  AND  THEIR  MAKERS 

Leipsic,  1892.  This  album  contain  16  illustrations  printed  in  col- 
ors, each  plate  a  master  work  of  the  color-printer's  art.  For  the 
connoisseur,  this  album  is  a  desirable  and  valuable  addition  to  the 
library. 

Paul  de  AVit  has  devoted  his  life  to  advance  the  interests  of  the 
piano  industry.  A  sketch  of  his  career  is,  therefore,  only  an 
acknowledgment  of  his  valuable  services.  Born  at  Maastricht, 
Holland,  on  January  4,  1852,  de  Wit  studied  the  cello  under 
Massart  at  the  conservatory  of  Luettich  and  showed  decided 
talent.  His  parents  objected  to  an  artistic  career  and  forced  the 
young  man  to  conduct  a  wholesale  wine  business  at  Aachen.  Since 
the  cello  had  a  much  more  magnetic  attraction  for  him  than  wine, 
he  did  not  make  a  success  of  the  wine  business,  and  sold  his  inter- 
est in  1878.  He  went  to  Leipsic  and  became  connected  with  the 
music  publisher,  C.  F.  Kahnt,  where  he  made  the  acquaintance  of 
Liszt,  von  Billow,  Carl  Riedel,  etc.,  and  also  the  versatile  Oscar 
Latfert.  In  partnership  with  the  latter,  he  started  in  1880  "  Die 
Zeitschrift  fiir  Instrumentenbau,"  a  dignified  journal,  devoted  to 
the  interests  of  the  music  trades  of  Germany.  Laffert  retired  in 
1886,  and  de  Wit  became  sole  proprietor  of  the  publication,  which 
to-day  ranks  among  the  most  influential  of  trade  journals  in  Ger- 
many and  circulates  in  all  civilized  countries. 

An  artist,  enthusiast  and  born  collector,  de  Wit  was  not  satis- 
fied with  his  success  as  an  editor  and  publisher,  but  set  to  work 
collecting  ancient  instruments  of  all  kinds.  He  started  a  work- 
shop with  Hermann  Seytfarth,  the  well-known  repairer  of  violins 
and  other  musical  instruments,  in  charge.  Seyffarth  rejuvenated 
the  battered  relics  which  de  Wit  had  discovered  during  his  travels, 
in  storehouses,  barns,  garrets  and  cellars,  De  Wit  virtually 
searched  the  Continent  for  old  instruments,  and  many  valuable 
discoveries  stand  to  his  credit.  Whenever  he  heard  that  an  old 
spinet,  violin,  bass  drum  or  flute  had  been  unearthed  somewhere. 


LITERATURE  ON  THE  PIANOFORTE  429 

de  Wit  would  take  the  next  train,  no  matter  how  great  the  dis- 
tance or  expense,  to  satisfy  himself  whether  the  relic  was  worthy 
of  a  place  in  his  collection.  As  a  result  he  assembled  three  col- 
lections, which  are  unrivaled.  His  first,  containing  450  instru- 
ments, was  bought  in  1889  by  the  Government  of  Prussia  for  the 
Academy  at  Berlin.  It  was  supplemented  in  1891  by  an  addition 
of  the  grand  i)iano  used  by  Johann  Sebastian  Bach.  His  second 
collection  of  nearly  1,200  instruments  was  bought  by  Wilhelm 
Heyer  of  Cologne,  who  erected  a  special  building  to  house  his 
gems. 

The  industry  owes  tjo  de  Wit  and  Steinert  a  debt  of  gratitude 
for  their  unselfish  labors  in  bringing  to  light  the  works  of  the 
old  masters.  Their  efforts  to  again  create  a  taste  for  the  enchant- 
ing tone  quality  of  the  clavichord  will  bear  fruit,  by  inducing  the 
piano  constructor  of  the  future  to  search  for  a  more  pronounced 
combination  of  the  liquid  with  the  powerful  tone  than  we  find  in 
the  piano  of  the  present. 

.  Notable  collections  of  ancient  instruments  are  also  to  be  found 
at  the  South  Kensington  Museum  at  London,  in  the  Germanische 
Museum  at  Nuremberg,  and  in  the  Metropolitan  Museum  of  Art, 
New  York,  which  latter  has  a  genuine  Christofori  piano  e  forte. 
The  most  complete  of  all,  however,  is  the  unexcelled  collection  of 
Wilhelm  Heyer  at  Cologne. 


PART  FIVE 

CHAPTER  IV 

CoDclusions. 


PART   FIVE 

CHAPTER  IV 
CONCLUSIONS 

ORIGINATING  in  Italy  during  the  inspiring  period  of  the 
Renaissance  as  a  strictly  art  product,  a  musical  instru- 
ment whose  outer  form  was  designed  by  architects,  deco- 
rated and  embellished  by  painters  and  sculptors,  the  piano  received 
its  first  development  in  strength  and  fullness  of  tone  under  the 
hands  of  the  Teutonic  master  builders  of  Austria  and  Germanj^ 
The  latter  brought  it  to  England,  where  the  Anglo-Saxon  imprint 
was  impressed  by  the  first  efforts  of  manufacturing  pianos,  call- 
ing factory  organization  and  machinery  to  its  aid.  This  Angliciz- 
ing was  furthermore  marked  by  the  invention  of  a  more  forceful 
action. 

After  this  the  piano  was  taken  in  hand  by  Paris  builders,  who, 
in  harmony  with  the  French  taste,  took  off  the  rough  edges  of  the 
English  construction  and  went  back  to  the  more  dainty  Italian 
design  of  case,  and  invented  actions  which  permitted  of  a  more 
delicate  execution.  However,  the  French  builders  did  not  quite 
follow  the  d\Tiamical  assault  of  the  new  school  of  music,  which 
demanded  more  tone  power  to  fill  large  concert  halls,  and  America 
took  the  field  with  its  full  iron  frame,  enlarged  scales  and  heavy 
hammers.  Germany  was  first  to  adopt  this  innovation  from  Amer- 
ica and  again  took  the  lead  in  Europe. 

433 


434  PIANOS  AND  THEIR  MAKERS 

These  various  schools  can  be  traced  most  distinctly  from  their 
beginning  to  the  time  when  they  reached  the  point  of  highest  de- 
velopment and  were  superseded  by  another  school.  Italy  reached 
its  height  with  Christofori  in  1720,  and  has  never  since  been  a 
factor.  Germany  took  hold  of  Italy's  heritage,  and  the  German 
school  prospered  from  1720  to  about  1800,  when  England  stepped 
in,  wrested  the  laurels  from  Germany  and  developed  its  mammoth 
factories  from  1800  to  about  1860.  France  in  the  meantime  (1803- 
1855)  became  the  successful  rival  of  England  because  of  more 
artistic  designs  and  refined  tone  qualities.  After  1855,  however, 
both  England  and  France  were  out-classed  by  America,  which  has 
been  able  to  maintain  its  supremacy  ever  since.  Germany,  hav- 
ing more  or  less  rested  upon  its  laurels  up  to  1855,  took  the  cue 
from  America  and  after  1860  out-rivaled  England  and  France  in 
the  production  of  pianos. 

While  no  accurate  statistics  are  obtainable,  a  reasonable  esti- 
mate of  the  number  of  pianos  produced  in  the  various  countries, 
based  on  careful  computations  made  by  manufacturers  of  piano 
supplies,  indicates  the  following  annual  production  at  the  present 
time: 


America    350,000 

Germany   170,000 

England    75,000 

France 25,000 

Austria  and  Switzerland 12,000 

Russia   10,000 

Netherlands  and  Scandinavia 4,000 

Spain   2,500 

Italy 1,500 

Grand   Total 650,000 


CONCLUSIONS  435 

The  piano  born  in  Italy  rcMinirod  Teiitonio  force  for  develop- 
ment, French  taste  for  retinenient,  English  matter-of-fact  indus- 
trialism and  commercialism  for  better  introduction  and  finally 
American  enterprise  and  wealth  for  general  adoj^tion  as  an  indis- 
pensable part  of  home  furnishing.  The  history  of  the  piano  shows 
thai  in  its  ])resent-day  finality  it  represents  the  activity  of  many 
minds  in  the  constructive,  ai'tistic,  industrial  and  connnercial 
fields.  The  industry  has  now  reached  a  })oint  where  the  genius 
of  the  born  organizer  on  modern  lines  will  be  next  heard  from 
ill  any  further  ])rogress.  (N)nihinations  of  large  firms  are  in- 
evitable. Competition  forces  greater  economies  in  ])]'0(lnction  as 
well  as  distribution.  America  is  leading  in  the  new  movement, 
and  will  adoi)t  it  more  generally  than  any  of  the  other  nations, 
because  nowhere  is  a  general  standardization  so  crying  a  necessity 
as  in  the  United  States.  The  product  has  to  be  standardized  to 
bring  the  business  of  distribution  out  of  its  slough  of  disreimtable 
tactics  and  ])ractices.  This  standardization  was  the  aim  of  the 
American  trust  movements  of  1892-91).  AVhile  these  attempts 
were  premature,  the  correctness  of  the  underlying  philosophy  has 
been  proven  l)y  the  subse(iuent  successful  amalgamation  of  large 
concerns  into  harmonious  entities. 

When  we  search  for  the  cause  or  reason  why  the  piano  industry 
has  been  so  slow  in  developing  along  connnercial  and  industrial 
lines,  in  comparison  with  other  leading  industries,  we  find  it  in 
the  fact  that  nearly  all  the  founders  of  successful  firms  were  gradu- 
ates of  the  cabinetmaker's  work-bench.  They  were  primarily 
mechanics  with  a  strong  inclination  to  the  artistic,  both  of  which 
qualities  are  the  antithesis  of  industrialism  and  commercialism. 
Their  very  occupation  of  designing  i)ianos,  inventing  improve- 
ments, dreaming  of  tone  (|uality,  etc.,  totally  unfitted  them  for  the 
cold,  exact  calculation  of  the  economic  factory  organizer  and  the 
liberal  distributor  of  the  finished  product,  not  to  mention  the  rea- 


436  PIANOS  AND  THEIR  MAKERS 

soiling  of  tlie  financier,  who  never  has  an  eye  for  anything  else  but 
cold  figures  and  algebraic  reductions. 

We  find,  therefore,  that  England,  where  commercial  tactics 
dominated  when  the  piano  appeared  there,  was  the  first  of  the 
nations  to  manufacture  them  in  large  numbers.  The  English 
knew  how  to  sell  and  how  to  distribute  them  after  they  were  made. 
The  astonishing  growth  in  America  came  when  the  kings  of  mer- 
chandising in  the  piano  business  became  manufacturers  and  sup- 
plemented the  factory  methods,  started  in  England,  with  the 
science  of  wholesale  distribution.  It  must  not  be  overlooked  here 
that  the  piano  industry  in  all  countries,  with  exception  of  England, 
has  always  suffered  as  a  whole  from  lack  of  sufficient  working 
capital.  In  Germany,  France  and  America  capital  was  never 
attracted  to  the  piano  industry,  simply  because  it  lacked  a  solid 
foundation  and  apparently  had  no  stability.  In  many  instances  a 
business  of  magnitude  would  die  w4tli  the  death  of  its  founder, 
because  its  main  asset  was  the  name  and  the  individuality  of  its 
owner. 

When  we  analyze  the  characters  of  all  the  leaders  in  this  in- 
dustry, from  its  beginning  to  the  present  day, — barring  a  few 
notable  exceptions  of  latter  days, — we  find  that  all  were  excep- 
tionally strong  men  who  had  to  fight  their  way  from  poverty  and 
misery  by  sheer  will-power,  supported  by  decided  talent  or  genius. 
Nearly  all  of  them  were  without  early  education.  They  had  to 
pick  up  whatever  they  acquired  in  knowledge  in  their  spare  hours, 
and  we  must  admire  these  men  for  their  great  accomplishments, 
considering  the  conditions  under  which  they  worked.  Even  their 
petty  jealousies  must  be  pardoned.  If  we  look  back  to  the  days 
in  which  they  lived,  we  need  not  wonder  that  Pleyel  and  Broad- 
wood  were  intimate  friends  and  made  front  against  Erard,  nor 
that  Chickering  opposed  the  overstrung  system  for  years  because 
Steinway  advocated  it.     All  of  these  men  thought  more  of  their 


COXCLUSIOXS  437 

instruments,  the  children  of  their  brain,  than  of  making  profits  on 
broad  lines  of  industrial  and  commercial  development. 

Modern  organization,  to  be  successful  in  the  piano  industry, 
requires  a  division  of  labor  and  duties,  which  will  enable  the  con- 
structor to  follow  his  thoughts  irresj^ective  of  factory,  selling,  or 
financial  conditions  and  requirements.  Indeed,  the  managers  of 
each  of  these  departments  must  be  adepts  and  experts  in  their 
particular  calling,  and  must  be  so  situated  that  they  can  work  out 
their  plans  on  the  basis  which  their  coadjutors  furnish  from  their 
respective  departments,  ^Xe  have  now  establishments  wliicli  turn 
out  30,000  instruments  per  year  under  one  management.  The  time 
is  not  far  otf  when  we  shall  see  organizations  whose  output  will 
surpass  100,000  pianos  per  year,  and  those  large  organizations  will 
set  the  pace,  will  create  the  standard,  wliicli  every  competitor  must 
follow. 

The  piano  factory  of  the  future  has  not  even  been  sketched  out 
as  yet,  but  it  will  come,  just  as  the  town  of  Gary  has  been  built 
for  the  steel  industry.  The  laws  of  evolution  are  at  work  in  the 
piano  industry  as  strongly  as  elsewhere,  and  the  avoidable  eco- 
nomic waste,  the  trifling  away  of  fortunes  in  the  present  cumber- 
some, unscientific  way  of  making  pianos  and  much  more  so  in  the 
kindergarten  methods  of  distributing  the  products, — methods 
which  often  make  the  cost  of  selling  larger  than  the  cost  of  pro- 
duction,— must  come  to  an  end  for  the  good  of  everybody  con- 
nected with  the  industry.  Some  of  the  money  saved  by  such  mod- 
ern methods  should  be  expended  for  the  support  of  high-grade 
trade  schools,  where  the  art  of  piano  making  would  be  taught,  and 
part  of  the  increased  profits  coming  from  the  economic  savings 
should  go  to  a  labor  pension  fund,  in  order  to  attract  to  the  indus- 
try the  best  class  of  wage-workers  obtainable. 

Even  when,  by  proper  factory  organization,  the  piano  shall 
come  to  the  level  of  an  every-day  commodity,  it  will,  after  all. 


438  PIANOS  AND  THEIR  MAKERS 

remain  an  art  product;  and,  since  we  can  form  no  conception  as 
to  its  further  development,  talented  young  men  must  be  brought 
into  the  field  to  continually  inject  that  vigor  and  enterprise  wliich 
is  indispensable  to  progress.  Adequate  compensation  and  assur- 
ance of  a  competency  for  old  age  are  the  only  means  of  attracting 
ability  and  energy. 

The  piano  industry  should  be  as  attractive  as  any  to  the  young 
man  of  to-day.  All  we  lack  is  proper  training  schools,  which  may 
easily  be  supplied  by  donations  from  the  leading  manufacturers 
of  each  nation.  Germany  is  making  an  effort  in  that  direction, 
and  England,  France  and  America  ought  not  to  delay  the  founda- 
tion of  such  schools.  The  day  of  the  apprentice  has  passed  for- 
ever. AVe  know  how  to  impart  to  a  properly  schooled  young  man 
more  knowledge  of  a  craft  in  one  year  than  he  could  acquire,  under 
the  apprentice  system,  in  five  years.  The  university  for  the 
physician  and  lawyer,  the  college  for  the  farmer,  must  be  sup- 
plemented by  the  college  for  the  craftsman,  so  that  he  may  per- 
fect himself  in  his  chosen  profession  after  he  leaves  the  manual 
training  school. 

AYhile  for  the  past  100  years  all  the  efforts  of  inventors  and 
piano  constructors  had  but  one  aim — to  augment  the  tone  of  the 
jDiano — the  labors  of  de  Wit,  Steinert  and  Dolmetsch  in  creating  an 
interest  in  the  clavichords,  furthermore  the  tenacity  of  the  Vienna 
and  French  schools  in  clinging  to  the  more  limpid  though  smaller 
tone,  are  arousing  the  interest  of  piano  constructors  to  seek  for 
more  soulful,  expressive  tone  quality,  without,  however,  curtailing 
the  carrying  capacity — a  problem,  no  doubt,  very  difficult  to  solve, 
but,  therefore,  so  much  more  inviting  to  the  thinking  piano 
maker. 

The  factory  manager,  the  sales  manager  and  the  financial  di- 
rector will  have  problems  continually  looming  up  before  them,  to 


CONCLUSIONS  439 

solve  wliicli  a  clear  understanding  of  the  past  history,  the  present 
conditions  and  the  trend  of  events  in  the  near  future  becomes  im- 
perative. If  this  book  shall  serve  as  a  guide  and  inspiration  to  the 
younger  element  in  the  various  branches  of  our  art  and  craft,  it 
will  have  fulfilled  its  intended  mission. 


APPENDIX 

List  of  Firms  Manufacturing  Pianos  and  Supplies  at  tlie  Present 

Time 


APPENDIX 

List  of  Firms  Mauufacturiiig  Pianos  aud  Supplies  at  the  Present 

Time 

ITALY 

PIAXO  jMANUFACTURERS 


Griffini   &   Co.,   R Established 

Coppi,    Federico " 

Rick,    Giuseppe '' 

Lachin,     >»  ieolo 

Berzioli,    Fratelli " 

Agmonino,    Giacinto '■ 

Berra,   Ing.   Cesare " 

Colombo,    Federico " 

Fea,    Fratelli '• 

Fea,    Giovanni " 

Forneris,    Fratelli " 

Laccliio    &    Co " 

IVIigliano   &    Borello " 

Mola,   Cav.   Giuseppe " 

Olivotto,   B 

Perotti,    Cav.    Carlo " 

Quartero,   Vittorio   Felice " 

Roeseler    Cav.    Carlo " 

Savi  &  Co.,  Rod 


GERMANY 

PIAXO  MANUFACTURERS 


Hilger.    Eduard Established 

Haegele,    Heinrich " 

Gebauer,  Jr.,  Gg.  Dietr " 

IMaass.   W " 

:\r;iller,  Ernst 

Dittnier.  A 

Neupert.   J.   C " 

Ibach   Sohn,  Rud 

Lehmaiui.    Artluir " 

Steingriiber   &    S<)hne " 

Andril    &    Co..    Robert " 

Anghiifer's    I'ianofabrik " 

Bartel  &  Co.,  Ernst " 

Barthol.    R « 

Bechstein.    C 

Beer    &    Co 

Becker.    Aloys " 

Biese.    W. .  . '. " 

Blasendorff.    Carl " 

Boger    &    Solui.    Wilh 

443 


Aachen 

184G    Aalen 

1819   Alsfeld 

1891    Altona 

1819    " 

Anklam 

1868    Bamberg 


1794 
1898 
1852 


1871 
1853 


1851 
1898 
1860 


.Barmen 


yreuth 
Berlin 


444  APPENDIX 

Bogs    &   Voigt EstablislM^d  1905    Berlin 

Bonecke,   Hermann "  1906    

Borkenhagen.    M "^  1892    ^'^ 

Brandes,    Erich "  —   

Compagnie   Concordia "  1809    

Dassel,   Ang "  1859    " 

Donadoni   &   Pohl "  1880    " 

Drever  &  Co.,  Max "  1890    

Duysen,  I.  L "  1800    " 

Ecke,    Carl \]  18' 3    '' 

Enimer.    Wilheiin "  — ^        

Engelmann    &    Gtintliermann "  18S8    

Euphoiiie   "  1900    

Excelsior  Pianofabrik "  

Fehn  &   Co..  A "  190.3    " 

Felschow,    A "  1875    '' 

Frohlich  &   Kemniler "  

Gawenda.    Franz "  1888    

Geil   &    Co.,   Friederich "  1904   

Giese,   Reineke   &    Co "  1888    

Gors    &.   Kallmann "  1877    " 

Goetze  &   Co "  1866    " 

Grabau.  M "  1880   ; '• 

Grand  Nacbf.,  A "  1869    " 

Gude.   Moritz "  1886    " 

Giinther.    Otto "  " 

Giinther,    Robert "  1880   " 

Hahmann.    Gustav "  1884    

Hancke.   Carl "  1890    " 

Hanne.    Paul "  1861    " 

Hansen,  H "  1871    |'^ 

Harmonie    "  

Hartmann,  \Y "  1839    ^ 

Hauschulz,  Jul "  

Heidrich.    Hermann "  1881    

Heilbrunn   Sohne,   K "  1875    " 

Heinke,    Carl "  " 

Hedke.    Willi "  1890    " 

Heindorff.    A "  1892    " 

Hepperle.  Otto "  1872    " 

Hevse.   E.   H "  1872 " 

Hiilgiirtner,    Heinrich "  1901    " 

Hilse,   C "  " 

Hilse   Nachf ..    W "  1876 " 

Hinke,   Alfred "  1901    " 

Hintze,    Carl    H "  " 

Hohne    &    Sell "  1885    " 

Hoffmann    Pianos "'  

Hooff    &    Co "  1873    " 

Plorn,    Alfred "  1905    '■' 

Janowskv,  ^I "  — — -   ' 

Ja.schinsky,  A "  1880   " 

Kewitsch,    Johannes "  1878    " 

Klimes,    Schwitalla   &    Co "  1905    " 

Klingmann  &  Co.,  G "  1869    " 

Knochel,    Ad "  1876   

Koch   &    Co.,    Ernst "  1896    " 

Krause,  Conrad "  1808    " 

Krause,    Hermann "  1800    " 

Krause   &   Dress   "  " 

Krengel  &  Co.,  H "  1900   " 


APPENDIX  445 


Krif'bol.  II Establi^ 

Kulihi,    Fritz 

Kuhl    &    Klatt " 

Laniinerliirt,    Kinil 

Langf ritz,    L 

Leliiiiann   &    Co.,   Adolf " 

Laurinat  &   Co 

Lenz,  A 

Lieck'ke,    W 

Linke.  Godenschwegcr  &   Co " 

List,  Ernst '. 

Lubitz,  H 

Liidecke.    ]M " 

Maclialet,  T 

Maiitliov,    Ferd " 

:\Iarqiiardt    &    Co.,    Otto 

Matz  &  Co.,  II 

Menzel,   Willieim " 

Clever,   Richard " 

Mo'bes   &    Co 

Mors    &    Co..    L 

Miiller,  Max 

Nesener  &   Segert " 

Neufeind,  R 

Xeiiniever,  Ernst '* 

Xeufeld,  L 

Xeugebauer   Xachf.,    C " 

Xeumeyer,  ^lax " 

Xeunieyer,   Gebr " 

Xieber   &    Co.,    A " 

Xoeske    &    Co " 

Opperniann,  Albert " 

Otto.  Carol 

Paul    &    Co.,    Ernst 

Paul    &    Co 

Pechniann  &   Co 

Pfatie,    Julius 

Pfeiffer,    J 

Pianofabrik    A.    Liiddeniann " 

Pianofortefabrik    '■  Euterpe  " " 

Ottomar  Fiedler 

"  "  Opera  "     '' 

W.    IIotTmann 

Plosch   &    Co 

Pr.schel,   A 

Quandt,    C.    J 

Rocsener,   F 

Seliieniann   &    Madsen 

Schiller,   J 

Sehleip,   Benedictus 

Schmeckel    &    Co 

Schmidt,  L 

Schmidt.    Rudolf 

Schmidt  &   John " 

Schonlein,   Ernst " 

Schotz  &  Co.,  Heinrich " 

Schiibbe    &    Co 

Schulz,    W 

Schiitze,   Heinrich '• 

Schutze    &    Schmidt 


U6 


APPENDIX 


Schwecliten.    G Establi 

Seidel    Xachf.,    Rob 

Siewert,    C 

Skibbe,  Max 

Sommer.    ^lathias " 

Steuer,    Wilhelni 

8teinl)erg  &  Co 

Stoessel.  Gertler  &   Co 

Tempe.   Reinhold 

Tietze.    E 

Ulbrich.  R 

Vierling.  Rudolph 

Vieritz    &    Werner 

Wahren.    Carl 

Weber.   F 

Werner,   Ed 

Westerniayer,  Ed 

Westphal,    Robert " 

Wittenbiirg  &   Hermann " 

Wittig.   Ernst 

Wrdiler   Xachf..   Adolf 

Zahn.  F.  H 

:\[ann   &   Co..   Th 

Grotrian,   Steinweg  Xachf •' 

Wechsung.    G 

Zeitter   &    Winkelmann 

Palven,    Jr.,    P 

Berndt,   Trangott " 

Hiittner,  Alfred " 

Welzel.  P.  F 

Hauck,   J.   B 

Lipczinski,    Max " 

Arnold,    Karl " 

Werner.    F.    W " 

Bever-Rahnefeld,   Otto 

Ceroid,    F 

Goetze.   Franz 

Hagspiel   &    Comp 

Hoffmann  &   Kiihne 

Kuhse,  Johann " 

Kulb.  Jos *' 

Mannsfeldt    &    Xotni 

Miiller,   Clemens  H " 

Ronisch,    Carl " 

Rosenkranz,    Ernst " 

Ullrich,   H 

Urbas,    Johann " 

Urbas    &    Reisshauer " 

Vogel,    F.    E 

Wolfframm.    H 

Werner.  Paul 

Zimmermann,   Gebr 

Erbe,     J " 

Finger.    Alb " 

Geyer   Xachf..   Adolph " 

Kluge    &    Treydel 

Vogel,    Robert " 

Weber    &    Fuchs '"' 

Weissbrod,    R " 

Winkelmann    &    Co '"' 

Tetsch   &i  Mav 


ihed  1853  Berlin 

190.5 " 

1894  " 

1908  " 

1880  " 

1868  " 

1890  " 

1888  « 

1879  " 

(C 

1002  " 

1860  " 

1881  " 

1863  " 

1894  " 

1900  " 

1863  " 

188.5  " 

1885  Bernburg 

1836  Bielefeld 

183.5  Braunschweig 

1857  

1837  

1901  Bremen 

1837  Breslau 

1896  

1835  

1865  Bruehsal 

1890  Danzig 

1830  Darmstadt 

1845  Dobeln 

1852  Dresden 

1875  

1874  

1851  " 

1899  " 

1874  " 

1873  

1867  " 

1877  " 

1845  " 

1797  " 

1876  " 

1894  

1894  " 

1845  

1872  " 

1810  

1904  Leipzig  IMolkau 

1881  Eiseiiacli 

1887  Eisenberg 

1877  

le 

1905  

1884  

1908  

1867  Emmerich    a.    Rhein 


APPENDIX 


U] 


Hansen,    Juliuf? E^tabli- 

I'liilipp,   G 

An(ii&,    C.    A 

Baldur    Pianofortefabrik " 

Philipps  &  Scihno.  J.  D 

Welte  &  Suline,  M 

Gliick,    Carl " 

Spaethe,    Willi 

Maetzke.    Eduard 

Steck    Piano     Co 

Ritmiillcr  &  Solin,  W " 

Ritter,    C.    Rich 

Belinken.   Gebr.   X.   &    E.   H 

Buschmann.   Gustav  Adolf " 

Kohl,   II 

Xeumann.    F.   L 

Rachals  &   Co.,  M.   F 

Schnell,  H 

Steinwav   &    Sons '" 

Stapel,  G 

Gertz,    Wilh 

Haake.  Karl 

Helmholz,     Fr 

Rissmann,   C.    C " 

Glass  &  Co..  C.  F 

Xagel,    G.    L '' 

Uebel    &:    Lcchleiter " 

Sprnnck.    Fr 

Glaser.   F 

Weidig.    C " 

Xeuhaus   Siihne.   W " 

Beckmann.   W ~ '" 

Scheel,    Carl " 

Giinther    &     Siihne " 

Kaini   &    Sohn " 

Arnold.    Heinrich " 

Rowold  &    Siihne,   Ernst " 

:\Iand.  C 

Prein.     Friedr '' 

Gebauhr,    C.    J " 

Schnst<»rius,  C.  A '' 

Stockfisch.  H 

Adam.     F " 

Ilain,  Stephan 

Bliithner,   Julius 

Feurich,   Julius "' 

Fiedler,    Gustav " 

Filrster   &    Co '■ 

Francke  &   Co.,  A.  H " 

Irmler.   I.   G 

Kreutzbarh.  Julius " 

Schimniel  &   Co.,  Wilh • 

Schumann.  Carl " 

Stichel.    F 

Zierold.   Gustav '■ 

Freytag.    Andreas '■ 

Geister    &    Schwabe " 

Gerstenberger,   J " 

Liohr.    Franz " 

Xeuinann.    Carl '• 

PLitzold,    Gottl 


d  1838  Flensburg 

1872  Forst 

1828  Frankfurt  a.  :M. 

1872  

1877  

1833  Freiburg  i.   Br. 

1843  Friedberg 

1859  Gera 

18<i2  Giirlitz 

1857  Gotha 

1795  Goettingen 

1828  Halle  a.  S. 

1873  Hamburg 

1805  

18.55  

18.54  

1832  

1872  

1880  

1848  

1873  Hanover 

1836  

1851  

1840  

1879  Heilbronn 

1828  

1871  

1839  Hettstedt 

Jena 

1843  '• 

1840  Kalkar 

1800     Kassel 

1840  •• 

1819  Kirchlieini,  u.  Teck 

1819  

1830  Klein -Umstadt 

1793  Kleve  a.  Rhein 

1832  Koblenz 

1857  Kijin 

1834  Koenig.sberg 

1869  

Kottbus 

1804  Krefeld 

1892  -. 

1853  I^ipzig 

1851  

1871  

1840  

1805  

1818  

1874  " 

1885  

1857  

1877  

1882  " 

1889  Lieffnitz 

1871  " 

1864  

1871  " 

1S97  


448 


APPENDIX 


Schneider.    Albin Established 

Schuppe  &   Neumann " 

Seiler,    Eduard " 

Sponnagel,    Eduard " 

FOrster,   August " 

Crasselt  &   Riihse " 

Niendorf,   Gebr " 

Pabst  &   Schneider " 

Scharf  &  Hauk 

Thiirmer.    Ferd " 

Brinkmann,    Emilie " 

Selle,  Gebr 

Berdux,   V 

Mayer  &  Co.,  J 

Knake,    Gebriider " 

Samson    &    Bennemann " 

Boekh,    Hermann " 

Hegeler   e^    Ehk'rs " 

Rohlting,    Gebr " 

Vogel    &    Sohn " 

Courtois,    Hermann " 

Weidig,   Georg " 

Bock    &    Hinriclisen " 

Deesz,   Julius " 

Hermann,    Alexander " 

Held,    H 

Soph    &    Sohn,    F 

Perzina,   Gebr " 

Sauter,    C 

Hoof.   Ludwig " 

Siegel,    R " 

Wolkenhauer,  G " 

Lindner    Sohn,    I.    P " 

Prestel,    Anton " 

Lochow   &   Zimmermann " 

Ackermann,  F.  J " 

Corner  &  Sohn,  F 

Elias.  G 

Gschwind,    I.    G 

Hardt,    Carl 

Krauss,    E " 

Krumm,    Jacob ' 

Lipp  &   Sohn,  Rich '• 

Miidler,    G 

Matthaes.    Theodor " 

Oehler,   C 

Pfeiffer.  Carl  A 

Sauer  &  Sohn.  LP 

Schiedmayer    Pianofabrik " 

Schiedmayer   &    Soehne ' 

Schilling.  Fr " 

Wagner,   Herm " 

Eigelbaum  &  Hoffmann " 

Simon,   L " 

Imhof  &   Muckle 

Ivetnatli,   Friedricli " 

Riimhildt   Pianofortefabrik " 

Adam,    Gerhard " 

Biehl.    Joh.    Heinr " 

Miiller-Schiedmayer,    Erwin " 

Pfister,  N '.  . 


1907  Liegnitz 

1897  

1849  

1866  

1859  Lobau 

1881  " 

1897  Luckenwalde 

1905  

1870  Mannheim 

1834  Meissen 

1879  ^Nlinden,    Westfalen 

1828  Miihlhausen,  Thiiringen 

1871  Miinchen 

1826  

1808  Miinster 

1866  Niirdlingen 

1895  Oldenburg 

1790  Osnabriick 

1828  Plauen 

Prenzlau 

1890  Regensburg 

1869  Rendsburg 

1820  Saarbriicken 

1835  Sangerhausen 

1867  Schleswig 

1902  Schnuilln 

1871  Schwerin   i.  M. 

1846  Spaichingen 

1882  Sprottau 

1849  Stade 

1853  Stettin 

1825  Stralsund 

1820  Strassburg 

1900  Strausberg 

1882  Stuttgart 

1830 

1875  

1858  

1855  

1870  

1900  

1831  

1857  

1888  

1857  

1862  

1863  

1853  " 

1809  

1871  

1844  

1907  ^ Torgau 

1880  Ulm 

1848  Vohrenbach,  Baden 

1836  Weiden 

1845  Weimar 

1828  Wesel 

1868  Wittgendorf 

1874  Wiirzburg 

1800  " 


APPENDIX 


449 


Fahr,  Albert Kstablishcd  1887 

Geissler,    F " 

Gerbstiidt,  Oscar '' 

Hoelling  &  Spangenberg,  C " 

Iliipfer    &    Co " 

Krietzscli.  llciinann " 

^lorenz,    Bniim " 

Schemelli  &  Co.,   R 

Scbniidt   &    Sohn   Xachf.,   P 

Doiiatli,   Max 


.Zeitz 


1878  

I. 

1888  

1874  .  " 

1847  

1891  " 

1900  

1870  " 

1882  

Zittau 

PIANO  SUPPLY  MANUFACTURERS 


Keys . 


.1876 


Biihl,   W.   G 

Burk  &   Bastian 

Kluge.   Hermann 

Aiebele  &  Bachmann Iron  Frames 

Allisath   &    Miiller Hammers 

Bartscb,  A "  

Beetz,   H Actions 

Bellin,    W - Hammers 1890 

Bobn  &  Co.,  C Keys 1871 

Berliner  Gussstahl   Fabrik Iron  Frames 

Beyer.   A Hammers 

Buchlioltz,   Heinricb Keys 1866 

Eggersdorfer   Filz   Fabrik Felts ■ 

^Yom■   &   Co.,   L Iron  Frames 

Fulte,  Georg Hammers ■ 

Gallowsky,    II "  1863 

Jacob,   Ernst Actions 

Jolist,    W Hammers 

Kaselow,  Hermann "    1900 

Klaviaturfabrik    Union Keys 

Kuhler.  Oscar Actions 1883 

Langer    &    Co "        1882 

Lauriscb,  Ferdinand Hammers 

Leonhardt,    M "  1896 

Leonbardt,  ^lax Keys 

Leonbardt,    Ricbard Hammers 

Leuscbner,    Carl "  1880 

Lexow,    Ad \ctions 1854 

Loepke,    W Hammers 

Walter,    Adolf Keys 

Webrmeier,  Franz Hammers 1876 

Weisner.    Gustav Actions 1880 

Dittersdorfer    Fils    Fabrik Felts 1881 

Kutter,   Alfred   W Keys 

Kutter,   E.   G.   Robert "    

Patzak,   Adalbert Hammers 

Svbre.    Edmund "  1879 

Dornbeim    &    Sobn,    F.    W Keys 1874 

Scblessigcr,  Herm Soundboards 1853 

Eicken    &    Co Wire 

]\rerckel.  Willi Hammers 1845 

Weidner,    W Keys 

Boecker.  Heinr.   Willi Wire 

Bongardt  &   Co.,   Gcbr "     1832 

Weber   &    Giese "     


1894    Barmen 

1905    " 


Berlin 


.Dittersdorf 
.  .  .  .Dresden 


.  Eichfeldt 

Gera 

.  .  .  Ha  gen 
,  Hamburg 


.  Hobenlimburff 


450  APPENDIX 

Kissing  &  Mullmann Soundboards Iserlohn 

Ilysse   &   Co.,   Oscar Keys 1905  Langenberg  b.  Gera 

Beier,  Adolf Hammers 1894  Leipzig 

Dethleffs    &    Co Keys , 1874  

Driver  &   Toepfer Actions 1882  " 

Fleming,    H.    F "        1874  " 

:\[atkowitz,    Carl Hammers 1906  

Morgenstern   &    Kotrade Actions 1846  " 

Polenz    &    Lange Hammers 1899  " 

Thieme.    Carl Soundboards 1843  " 

Triinkner.   Hugo Keys 1843  

Weickert,  I.  D Felts 1847  

Gustav    Meurer "      1878  Liebenzell 

Jentzsch   &    Co Keys  and  Actions 1882  Liegnitz 

Stammitz,  Hermann Keys 1894  

Thelocke    &    Kluge "     1859  

Scherdel.    Siegmund Wire 1889  Markt  Redwitz 

Julius    Klinke Pins 1847  Neuenrade 

Schiirmann   &    Hillecke "     1879  

Beck,   Georg   Job Wire 1642  Niirnberg 

Fucbs,    Job.    Wolfg "     1787  

Poehlmann,    Moritz "     1850  

Marthaus,    Ambrosius Felts 1834  Oscbatz 

Kaiser,  J Pins 1864  Plettenberg 

Scbulte.    D.    W "     1840  

Wagner,  jun..   W "     

Zimmermann.    Paul Keys 1898  Radis 

Stahl   &    Drabtwirk   Roeslau Wire 1832  Roeslau 

Sempert.    Carl Keys ■ Rudolstadt 

Boscb,    Franz Hammers 1872  Stuttgart 

Dascbler,  Friederich "  .■ " 

Fritz   &    Mayer Actions 1857  " 

Kanbliuser,  G.  &  E Hammers 1844  " 

Keller  &  Co.,   J Actions 1857  " 

Koch   &   Co Keys 1879  

Pa pe,   Paul "     1877  

Renner,    Louis Hammers  and  Actions .  .  1882  " 

Scbauflele   Wwe.   Gg Keys 1846  

Scbauffele,   Wilbelm "     1882  

Worner,  G.   F Hammers 1865  " 

Hunker,  J.  W Pins 1847  Werdohl 

Giese,  I.  H.  Rud Wire 1883  Westig 

Grunert,   Emil Keys • Zeitz 

Kummer,  Adolf Actions  and  Hammers .  .  1890  " 

Tischendorf ,    Franz Keys 1 8S8  " 

Tiscbendorf,   Karl "     " 

ZugebiJr,    Oscar Hammers " 


ENGLAND 

PIANO  MANUFACTURERS 

Ajello  &  Sons.  G Establisbed  1S63  London 

Albion  Pianoforte  Co "  1871  

Allen  &  Gaunter "  1894  

Allison   &    Co.,   Arthur "  1840  

Allison   &   Sons,   Ralph "  

Ambridge    &    Son.    Henry "  1890  

Arnall  &  Co.,  H.  B "  


APPENDIX 


451 


Arnold   &   Co.,   J Kstahl 

Bansall  &   Sons 

Burnett    &    Sons,    Sanuu'l " 

Barbf-r  &  Co 

Barratt    &    Robinson " 

Beadle    &    Langbcin '* 

Beekliardt    &    Sons 

Berry,  Nathaniel " 

Bishop  &   Co..  Joseph " 

Brasted,  H.   F.   &   R.  A 

Brinsmead  &   Sons,  John " 

Brinsraead,    E.    G.    S " 

British    Piano    Manufacturing   Co....  " 

Broadwood    &    Son,    John *' 

Brock,    Bernard " 

Brock  &  Vincent " 

Browne,  Justin " 

Burling   &    Mansfield " 

Byers,  Walter  Charles " 

Carleton  Piano  Works " 

Challen    &    Son 

Challenger   &    Co  ,   George " 

Chappell  &   Co 

Child,  E 

Cohen  &  Co.,  Philip 

Collard  &  Collard 

Cons   &   Cotns " 

Cramer  &   Co.,  J.   B 

Daneniann   &    Co..    W " 

Dodson,  William " 

Dunno,    Ellis   &    Hill 

Dunckley,   William " 

EavestaflT   &    Sons " 

Edwards   &    Searle " 

Ellis,   John 

Empire  Piano  Co " 

Eungblut,  C.  &  J " 

Feord,  Garrett " 

Fitzsirnmons,    Robert " 

Fleming  &   Barker " 

Forrester,   J " 

Fox,  T.  G 

Gautier,   Jules " 

Gilbert,  Thomas,  John " 

Grantone  Piano  Co " 

Green   &    Savage 

Grover  &  G rover 

Grover   &    Deare 

Hardeastle,    J 

Harland,    Alfred.    Joseph " 

Harold    &    Denson " 

Harper.    Thomas    W " 

Harrison.  Thomas " 

Harvey   &    Son,   G 

Hawkins.  R " 

Healv   &    Richards " 

Hickey  &  Co.,  T.  J 

Hicks    &    Son,    Henry 

Hillier   Piano  &   Organ   Co " 

Hopkinson.   J.    &   J " 

Hiilbort    &    Jones 


452 


APPENDIX 


Humphreys,  A.  &  E 

Imperial  Organ  &  Piano  Co. 

James  &   Son,  Henry 

Jarrett    &    Goudge 

Jenn    Bros 

Keith,    Prowse    &    Co 

Kelly  &   Co 

King  Bros 

Knapton  &  Co 

Lambert,   F.   B 

Lawrence    &   Co 

Little,  Charles  Edwin 

Livingstone  &  Cook 

Lyon,  Louis  George 

McRill   &    Sons 

MeVay  Piano  JNIfg.  Co 

Merrington    Bros 

Monington    &    Weston 

Moore    &    jNIoore 

Munt  Bros 

Murdoch,   John   G 

Murray  &  Co 

Payne.'  T.  &  G 

Pinnell   &   Co.,   E.   J 

Pugh   &    Son,   Joseph 

Pull   &   Fipld 

Pyrke,   C.   H 

Rayner.    S 

Reed  &   Sons,   J.   W 

Reeve   &    Co.,    W 

Regester  &  Sons 

Rintoul  &  Sons,  John 

Robertson    &    Co 

Rogers  &  Sons 

Rudd   &   Co.,   A 

Russell   &   Co.,  Geo 

Samson   Piano   Works 

Sandon    &    Steedmann 

Seager    Bros 

Shenstone    &    Son 

Shipmann  &  Shipmann 

Smitii,    Andrew 

Snell.   Harry 

Southam,    Cooper 

Spencer  &   Co.,  John 

Spiller,   Boult  &   Co 

Squire,    Jr.,    William 

Squire  &   Son,   B 

Strohmenger    &    Son.    .J 

Strong  &  Sons,  John 

Tavlor   &   Co.,   A 

Taylor   &    Co.,    C.   R 

Tucker  &   Co 

Wallis    &    Son,    Joseph 

Watkins.    T.    &    G 

West   Green   Piano   Works.. 
WHiite,    Broadwood    &    Co... 

White.    T 

Whiteley.    William 

Willcocks   &    Co 

Witton,  Witton  &  Co 


.Established  1SS3     London 


ISO: 


189.5 


1858 


1897 


1877 


1883 


1848 


i^PPENDIX  453 


^Yon(lor  Pianoforto  Co Estahlislicd 

Woods  &   Co.,  K.  J 

Wri-lit.   W.  A 

Zciidcr   A:    Co 

I'oliliiiaim   &   Sons,   F " 

ilartU'V  &   Sons,   Stephen " 

Shore,  F " 


PiAXO  si'PPiA'  MAM  KAci  ri;Ki:> 

Webster   &    ITorsfall Wire Birniingliani 

Brooks.    Liniilcd Keys  and  Actions ISIO  London 

Cassini.    W.    II llanimers 1878  

(lark.    11.   W Keys 1871  

(lark,  dohn  11.,  &  Co Iron  Frames 1784  " 

Deijihton,   A Keys 1881  " 

Fiiiniinore    Bros '•     1880  '" 

Gibbs,  B.  A "     1895  " 

Goddard,   J.   &   J Felts  and  Hardware ....  1842  

Honian    &    Sons Strings LSo.'^  " 

Kilvert.  J.   Smith Hammers 1800  " 

Marshall,   William,   &    Son Materials 1841  " 

Nott  &  Co Actions 1 802  " 

Paine   &   Sons,   Thos Keys 18(55  '•' 

Sebright,    T "'    1852  

Shenstone  &   Co "     1 870  " 

Vestey,  R.  F.,  &   Son "     1800  " 

Wallis    &    Son ^[aterials 1848  " 

Whitehead,  R.  R.,  &  Bros Felts 

Honghton,   W.   A W  ire Warrington 

Naish    Felts ]  850  Wilton 


FRAXCE 

PIANO  MANUFACTURERS 

Anrand    &    Bohl Fstabli.-^iied  I  S;!0    Lyon 

Barutli,    Francois    Claude "  '■• 

Bondon,   B "  '• 

^Manufacture  ^larseillaise  de   Pianos.  "  1827     Marseilles 

Klein,    (iaston "  Montreuil  sous  Bois 

Klein,    Henri "  1879     "  "         " 

^Manufacture    des    Pianos    (Jrillot.  .  .  .  "  "  "  " 

Staub,  J "  1 848    Nancy 

Vuilleinin-Didion    "  1S40     Nantes 

Rodolphe    Fils    &    Debain    reunies.  ...  "  Nogent   sur   Seine 

Benard.  Champ  &  Cie "  1 S49 Paris 

Blondel.    Alphonse "  18:59    " 

Bord.    A "  1 840    " 

Biieher  (Gauss  Fr^res  &  Cie.  Succrs.)  "  1848    " 

Burgasser  &   Cie "  1840    " 

Carpentier.    J "  " 

Coc(iuet    Fils.    Leon "  18t)5    " 

Erard    (Blondel    &    Cie.    Succrs.) "  1779    " 

Focke    Fr&res "  1800    " 


454 


APPENDIX 


Frantz,  J.  B.  (Mussard  &  Cie. 

Gaveau,    I.    G 

Gouttiere,   Ed 

Guillot,    A 

Herz,   Henri 

Herz,   Neveu   &    Cie 

Kriegelstein    &    Cie 

I^eguerinais   Freres 

Leveque  &  Thersen 

Mustel    &    Cie 

Oury,   Alphonse 

Pleyel,  Lyon  &  Cie 

Pruvost,   Henri 

Pruvost    Fils,   E.    Victor 

Ruch,    J 

Schmitt,    Francois. 

Schotte    Freres 

Laplanche-Deforge,    C 


Sneers. )  Established  1852    Paris 

"  1847    " 


184G 


18.50    " 

1790    Reims 


1855 

1807 
1850 


PIAXO  SUPPLY  MANUFACTURERS 


Soeiete   Anonyme \Yire 

Gilbert   " Actions 

Sommer    Felt 

Voos,  J.  J "     

Brees    &    Cie Actions 

Bron,    Edouard Felt 

Delorme,    F Keys 

Deloye,    Maurice "     

De    Rohden,    C Actions 

Fortin,    Eugene Felt 

Gehrling    &    Cie Actions 1842 

Grillet,  Pere  &  Fils Keys 

Herrburger,   J.,   Maison   Sell  wander.  .  Actions  and  Keys 1844 

Kneip,    Louis Hammers 1850 

Lange,    .Julien Keys 

Levet,    A Hammers 1869 

Martin.    L Actions  and  Hammers .  .  1895 

Muller.  E Keys 1835 

Soeiete  Anonyme  de  Feutres  frangais.  Felts 

Truchot    Hammers 1848 

Union   Actions  and  Keys 

Rolle,  Xeveu  &  Succrs.,  E Felts " 


SPAIN 


PIANO  MANUFACTURERS 


Canto.    J Establi 

Charrier   y    Cia " 

Chassaigne    Freres " 

Estela,   Vinda   de   Pedro " 

Estela    y    Compa.,    B " 

Guarro  Hermanos " 

Izabal,   Louis " 

Izabal,  Paul " 

Prin,  Mallard  y  Cia " 


died 


.Barcelona 


APPENDIX  455 

Ribalta,    Salvador lvstal)lisliod Barcelona 

Sociedad    Franco-iiispano-Amcricaiia .  "  1898     " 

Vidal,   J "  1879 

Montano,    lii jos   de "  1838    Madrid 

Piazza,  Maurioio "  Si-villa 

Ten  y  Cia.,  Rodrigo "  1902    Valencia 

riAXO  SUPPLY  MAX L- FACT LRERS 
Rayiiard,   L Actions  and  Keys ....  1897     Barcelona 

BELGIUM 

PIANO  .MANUFACTURERS 

Hainan^.   Fr&res Established 

Berden  &   Cie.,   FrancoLs 

Bernard   &    Cie.,    A "' 

Giintlior,    J " 

Hanlet,    A 

INIahillon  &   Cie " 

Oor,  J 

Oor,    Lucien " 

Pley    &    Dahout 

Boone    Fils " 

Gevaert,  V 

Van    Hyfte,    B 

Van    Hvf te    Freres " 

Vits,    Emile 

Renson    Freres " 

Derdeyn    Frferes " 


1815    

1898     

Briissell 

1845     

18G6     

(C 

1850     

1907     

(( 

1839     

Oont 

1846     

1835     

,c 

1839     

1838     

1857     

Liittich 

1846    

Roulers 

NETHERLANDS 

PIANO  MANUFACTURERS 

Allgjiuer  &  Zoon,  J.  J Established   1830    Amsterdam 

Cuijpers,   J.    F "  1832    Uravenhage 

Rijken   &   Co.,   Cli.    F "  

Mes,  Antoine  A.   A.  Az "  1874     Middelbiirg 

Rijken    &    de    Lange,    Gebrs "  1852    Rotterdam 

Bocage,    Ch "  Schiedam 

Leijser  &  Zoon,  N.  S "  1854    Zutfen 


SWITZERLAND 

PIANO  MANUFACTURERS 

Schmidt.    A Established  1830 

Burger  &  Jaeobi 

Pianofabrik  Svm])honia " 

Bieger    &    Co.",    J 

Ganter  &   Sohn.  J 

Hiini    &    Co 

Rordorf  &  Co 

Suter,   H " 


1830 

Bern 

1872   

Bipl 

1S42     

Rorschach 

Ziiricli 

1860     " 

1847       

« 

1875     " 

456 


APPENDIX 


SCANDINAVIA 


PIANO  MANUFACTURERS 

Dexisiark 
Ehlert,  J.  H Established  1SG7     Kopenhagen 


Felumb.  Emil 

Geisler,  A.  H 

Heideraann.   H.    P 

Hindsberg.  H.  T.  P 

Horn  ling  &  iMoUer 

Jensen,    Soren 

Kofod   &    Co 

Landsehultz,   C 

Larsen  &    Son,  J 

Lendorf,  Oscar 

Mentzler,    W 

Petersen  &  Son,  Herm.  N. 

Schon,    T.    C 

Wedell   &    Aberg,    C 


1872 
1876 

1853 
1827 
1893 

1865 
1855 


1854 


1881 


S\A'EDEN 

A.  G.  Ralins  Piano  Fabrik. 

Pianofabriken  Standard 

Ostlind  &   Almquist 

Billbergs    Piano-Fabrik 

Lof mark,    J 

Mahnsjc").   J.   G 

Hagdaiil.    J 

Nystroms,    J.    P 

Hansson,   D 

Ekstrom    &    Compis 

Lofmark    &    Hagland 

Gustafson  &   Ljunquist 

Bergquist    &    Nilsson 

Engstrom  &   Johanesson .  .  .  . 

Franckel   &   Co.,    F 

Hofimann.  Ang 

Lofberg  &   Co 

Norbergs    Pianofabrik 

Pettersson,   John 

Rapp,  E 

Svahnqiiist,  jun.,  C 

Winkrantz,    Fr 


1885  Amal 

1904  Arvika 

1888  " 

1868  Goteborg 

1903  

1843  

■ — ■ — •  Karlskrona 

1865  Karlstad 

1854  Lund 

1836  Malmo 

1899  " 

Norrkoping 

Stockholm 


1889 
1899 


Norway 
Knudsen,    Jacob. 
Hals,    Brijdrene . 


1896     Bergen 

1847     Christiania 


RUSSIA 


PIANO  MANUFACTURERS 


Hellas,    Osakeytio Established 

Apollo    

Betting,  Theodor " 

Fibiger,    Arnold " 

Strobl,  August 


1901    Helsingfors 

1899    Kalisch 

1887     

1878     . 

Kicw 


APPENDIX 


45' 


Koretzkj',    F.    J 

Uslall  &  Co.,  A 

Rauscli,  M 

Sc'hoen,    Ad 

.Tohannsohii.    Th 

Tresselt.     -I 

Weinberg.   J 

Becker.    •! 

Diederiehs.    OeUr.  .  .  . 
Hergeiis    &    Trunioft' . 

Leppeiil)eig.   G 

Mavr,    Hermann 

Mu'hlhach,    F 

Offenbaclier 

Rathke,   R 

Reinliard,  W 

Ronisch,    Carl 

Schlesinger,  S.  L. .  . 

Schmidt,    P 

Schroeder,  C.  M. .  .  . 
Smidt    &    Wegener. 

Stein,   J.   J 

Erikson,    M 

Kelirer,    Hermann. . 

Kopp.    Anton 

Angerhofer.  F 

Diitz.    Anton 

Kerntopf  &  Sohn.  . 
:Malieki,  Julian.... 
Nowicki,    F.    J 


.  . Established  18S7    Moskau 

1878     

]850   Odessa 

_  .  "  1843     " 

1855     Riga 


1841     St.  Petersburg 

1810     " 


1888 
1870 

1900 
1868 
1874 
1898 

18S0 
1818 
1880 


Saratow 

1872  Tiflis 

1887  " 

Warsehau 

1873  


AUSTRIA 

PIANO  :\L\XUFACTUREE 


Albert  &  Co., 

Rosier,  G 

Protze  &   Co. 

Petrof.     Anton 

Warbinek,  Rudolf  A..  . 

Baroitius.  Karl  J 

Kopecky   &   Co 

Novak.' V 

Schnabel.    Ludwig 

Koch    &    Korselt 

Proksch,    A 

Spira's    Wwe..    Carl... 

Bremitz.     Enrico 

[Magrini   e    Figlio,   L. .  . 

Audreys.    Anton 

Baumann.    ^Nlax 

Beleliradek.    Joliann.  . 

Banmbacli.  Josef 

Berger.    Ignaz 

Bosendorfer.    Eudwig . 

Czapka's   Sohn.   Jacob 

D.'lrr.   Karl 

Dchsam.     Wilhelm. .  .  . 

Ehrbar,    Friedrich..  .  . 


■£    A Established 

Josef 


18GS    Aussig 

1878    B.  Leipa 

1905    Georgswalde 

18G4    Koniggriitz 

190C    Laibach 

1898    Prag 


1901 


ISni    Reichenberg 

18G4    

1892    

1S74    Triest 

1870    '• 

Wien 


1828 
1842 
1817 

1801 


458  APPENDIX 

Fritz,   Sohn,   J 

Fuchs,   jun.,  Franz 

Gossl,    Josef    &    Adolf 

Hahder,    Joh 

Hamburger,    Carl 

Heitzmaiin,   Otto 

Hnatay,    Josef 

Hofbauer,   Gustav 

Hofmann,    Friedrich 

Hofmann,   Karl 

Hulze   &   Heitzmaiin 

Horr,    Moritz 

Jirasek,    Ferdinand 

Karbacb,    Friedrich 

Klubal,    Gottlieb 

Kraiis,   Adolf 

Kubik.  Josef 

Lauberger  &   Gloss 

l^ittmann,    Johann 

*'  Lyra  "    

Maliwanck.    Heinricb 

Mayer,    Eduard 

Mayer,    Wilhelm 

Mayr,  Franz 

Nemetsehke,   Johann 

Neuburger,    Adolf 

Neumayer,  Carl 

Oeser,  Franz 

Oeser  &   Sohn,  Vincent 

Pallik  &  Stiasny 

Parttart's   Eidam,  Alois 

Pawleck,    jun.,    Josef 

Pokorny,   A 

Reinhold,   Robert     F 

Richter,  Franz 

Schaube.   \Yilh 

Schmid,    Heinricb 

Schmid  &   Kunz,  F 

Schneider  &   Xeffe,   Josef 

Sehweighofer's  Sohne 

Skop,   Josef 

"Stary,   Johann 

Stelzhammer.    Anton 

Stenzel    &    Schlemmer 

Stingl,    Gebriider 

Wasniczek,    Ignaz 

^Yindhofer  Wwe.  Rudolf 

Wirth,   Franz 

\Yolck,    Franz 

Zebrakowsky,  Johann 

Chmel    &    Son 

Dehmal,  Karoly 

Eder,  Anton   Julius 

Havlicsek,    Carl 

Heckenast,    Gustav 

PIAXO  SUPPLY  :\L\XCFACTURERS 

■Gaiser,  Emil Hammers 1871    Wien 

Karl,  Jos Kevs 1894    " 


APPENDIX  459 

Kufla,    Eberhard Hammers 1891  Wien 

IJttmann.    jun.,    Paul Keys 1887  

Miller's   Sohn,   Martin Wire 1782  '• 

Mraz,  Franz Keys 1881  " 

Olbert,   Franz "     •' 

Opletat,    Alois "     '  '      " 

Pichler,  Johann "     " 

Prohaska,    Franz "     " 

Schmidtmavr,    Ravmund "     " 


JAPAN 

PIANO  MAXUFACTURERS 

Nippon  Gakki  Siezo  Kabushiki   Kwaisha Hammamatsu 

Nishikawa   &   Son Yokohama 


UNITED  STATES 

PIANO  :\L\NUFACTURERS 

California 

Pacific   Piano   ^Mfg.  Co Established  Pasadena 

Salyer-Baumeister    Co "  1907  Los   Angeles 

Behre,    J.,    &    Co "  San    Francisco 

Deitemeier    Piano    Co "  1892  -  " 

Fav,    Robert "  1880  " 

Hornung,  C.   C "  1880  ••  " 

Mauzy,    Byron "  1884  •• 


CONKECTICUT 

Sterling   Co.,   The Established  1866 Derbv 

Huntington    Piano    Co "  1894  Shelton 

Wilcox   &   White   Co..   The "  1877  Meriden 

^lathushek   Piano   Co "  1866  Xew  Haven 

Shoninger,  B.,  Co "  1850  •• 

Illinois 

Johnson,  Wm.  A.,  Piano  Co Established  1907  Champaifni 

Bauer,  Julius,  &  Co "  1857  Chicafo 

Bent,  Geo.  P.,  &  Co "  1870  •■  ° 

Bush  &   Gerts   Piano  Co '•  1886  " 

Cable   Co.,  The "  1880  " 

Cable-Nelson    Piano    Co "  1903  " 

Chickering  Bros "  1892  " 

Clark,  Melville.  Piano  Co "  1900  '  .  .        " 

Conover    Piano    Co "  1890  " 

Concord  Co..  The "  1907  

Decker  Bros.  Co "  1907  

Detmer.    Henrv "  1885  " 

Foley    &    Williams   :Mfg.    Co "  1870  

Fuehr  &  Stcmmer  Piano  Co "  1903  

Kaiser.    Adolph "  1891  

Kimball,  W.  W.,  Co "  1854  


460 


APPENDIX 


King    Piano    Co 

Lyon  &  Healy 

Marquette  Piano  Co 

Maynard,  R.  K.,  Piano  Co 

Meyer,    Franz 

Nelson,    H.    P.,    Co 

Newmann    Bros.    Co 

Price  &   Teeple   Piano   Co 

Reed   &   Sons   Piano   Co 

Reichardt    Piano    Co 

Rothschild  &  Co 

Scliaaf,   Adam 

Schaefi'er   Piano  Co 

Scherpe,   B..  &  Co 

Schiilz,    M.,    Co 

Seeburg,   J.   P.,   Piano   Co 

Singer   Piano   Co 

Smith,  Barnes  &  Strohber  Piano  Co 

Starek,   P.   A.,   Piano  Co 

Steger  &  Sons  Piano  Mfg.  Co 

Story  &  Clark  Piano  Co 

Stranbe  Piano  Co 

Weber  &   Sons 

Werner  Piano  Co 

Hamilton   Piano   Co 

Seybold  Piano  &  Organ  Co 

Swan,   S.   N.,    Co 

Pizarro   Piano    Co 

Schiller   Piano    Co 

National    Player   Piano   Co 

Standard  Piano  Player  Co 

Johnson,  E.  P.,  Piano  Co 

Western  Cottage  Piano  &  Organ  Co 

Haddorff   Piano   Co 

Nysewander    Piano    Co 

Schumann  Piano  Co 


Established  1903 Chicago 

1864    


1870     

18G9     

1878     '^ 

1902     " 

1889     Chicago    Heights 

Elgin 

1007    Freeport 

1908    Joliet 

1893    Oregon 


1007    Ottawa 

1805     " 

1002     Rockford 


IxniANA 
Kniffht-Brinkerhoff  Piano   Co Established   1907    Brazil 


Auto    Grand    Piano    Co. 

Packard   Co..  The 

Schaff  Bros.  Piano  Co.. 
Cable.  Hobart  M.,  Co.. 
Krell-French  Piano  Co.. 

Chute    &    Butler 

Starr   Piano    Co 

Tryber  Piano   Co 


Iowa 
Bellevue   Piano   Mfg.    Co. 


"  190.5    Connersville 

"  1871    Fort   Wayne 

"  1866    Huntington 

"  1900     Laporte 

"  1898    New  Castle 

1901    Peru 

"  1872   Richmond 

1881    South  Bend 

.Established   1906     Bellevue 


Kextucky 
Harvard  Piano  Co Established   1885 

]\1aixe 
Hughes  &  Son  Piano  Mfg.  Co.. 


.Davton 


Maryland 
Wm.  Knabe  &  Co. 
Chas.  M.  Stieff .  .  . 


.Established   1866    Foxcroft 

.Established  1839     Baltimore 

1842     


^Massachusetts 
Bourne.    Wm.,    &    Son . 
Chickering  &    Sons .  .  . 


Established  184G    Boston 

1823     " 


APPENDIX  461 

<  lioralcelo    Mfg.    Co Established Boston 

Emerson  Piano  Co "  1849  

Everett    Piano    Co "  1883  " 

Hallet  &  Davis  Piano  Co    "  1835  " 

Hume    Piano    Co "  1902  " 

Ivers   &   Pond   Piano   Co '•  1880  " 

Jowett  Piano   Co "  1899  " 

Kraft.   Theo.   J.,   &    Co "  1903  " 

Mason  &  Hamlin  Co   •'  18.54  " 

McPliail,  A.   M.,   Piano  Co "  1837  " 

]\Iilier,  Henry  F.,  &  Sons  Piano  Co. .  .  "  1863  " 

National   Piano   Co "  1911  " 

Poole  Piano  Co "  1893  " 

Vose    &    Sons    Piano    Co "  18.51  " 

Ackotist  Plaver  Piano  Co "  1906  Fall  River 

Cote   Piano  Mfg.   Co "  1890  " 

Gilbert   Piano   Co "  1907  " 

]\Iorrisette,    Honore,    Co " 

Trowbridge   Piano  Co " 

Webster  Piano  Co " 

^llCHIGAN 

■Crinnell    Bros Established  1882  Dftroit 

Farrand   Co..   The "  1 884  

Brockmeier  Piano  Co "  1908  Grand  Rapids 

Manville    &    Sons "  " 

Bush  &  Lane  Piano  Co "  1901  Holland 

<"haseHackley  Piano  Co ■  1863  Muskegon 

Oermain  Piano  Co "  1895  Sasiiiaw 

Melin-Winkle    Co «  1909  South  Haven 

Minnesota 

.Schimmel   &   Co Established  1892  Faribault 

Raudenbush,   S.   W.,   Co "  1883  St.    Paul 

Segerstrom   Piano  Mfg.  Co "  1900  Minneapolis 

Wick,  P.  S.,  Co "  1886  North   St.   Paul 

New  Hampshire 

Prescott    Piano    Co Established  1869  Concord 

New  Jersey 

Delabar,    Edw Established  Newark 

Lauter    Co..   The "  1862  

Winkler  Piano  Co "  1875  Trenton 

Alleger.    H.    W "  1869  Washington 

Cornish    Piano   Co "  1876  

Florey  Bros "  1909  

New  York 

Boardman  &  Gray Established  1837  Albany 

Wegmann   Piano   Co "  1882  Auburn 

Brockport   Piano   Co "  1893  Brockport 

Smith.   Freeborn   G "  1848  Brooklyn 

Wissner.    O "  1878  

Chase  &  Baker  Co ''  1900  Buffalo 

Kurtzmann.    C,    &    Co "  1848  " 

Ahlstrom    Piano    Co "  1875  Jamesto^^•n 

Aeolian    Co.,    The "  1887  New  York 

Aeolian-Weber  Piano  &   Pianola  Co..  "  1903  

American    Piano    Co "  1909  

Amphion    Co "  1901  " 

Archer  Piano  Co "  1906  " 

Autopiano    Co.,    The "  1903  " 


^62  APPENDIX 

Bacon    Piano    Co Establislied  1780    New  York 

Bailey   Piano  Mfg.   Co "  looi  "        " 

Baumeister.    H "  1894  u        u 

Bayer  Piano  Co "  igoG  ••■.•■..     ^^        ^^ 

Becker   Bros "  1902                               "        " 

Beiining    Piano    Co "  1861 "        " 

Behr  Bros.  &   Co ...  "  1S81 !    ! '<        <' 

Berry- Wood   Piano    Player   Co "  .  .  .  .  .  .  '.  .  .  .  \  .  \  .  .  .  .' .'  ." .'    " 

Biddle    Piano    Co '•  18G1     "        " 

Bjur    Bros "  "  igs?  ...................'.     " 

Bopdicker"s  Sons.  J.  D "             an 

Bogart,  Edwin  B.,  &  Co '. '.'."'  "  1899    " 

Bogart.    W.    F "  "  '  '  ' <. 

Bollerman   &   Son '  "  isSO "        " 

Bramhacli.  Carl,  &  Son '.\  "  1010 "         " 

Braumuller  Piano  Co '  "  1887     " 

Brunner  &   Co.,   C.   A .'.'.'  •■  « 

Byrne,   C.    E.,   Piano    Co "  1862  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .         " 

Cable  &.   Sons "  1852           "        <• 

Chilton    Piano    Co "  ^ « 

Christman  Sons "  <.  u 

Collins  &  Kindler "  iqiq               "  « 

Connor,    F "  1877     "  " 

Davenport   &   Treacy   Piano   Co .  "  1896  ................           " 

Decker   &    Sons "  i856                 "  " 

De   Piivas   &   Harris "  1905     «  « 

Dobson,   E.    S.,   &   Co ' "  «  « 

Doll.   Jacob,   &    Sons "  1871 "  " 

Dnsinberre  &    Co "  i884 "  " 

Estey   Piano   Co "  1885 "  « 

Fischer,  J.  &   C "  1845  .................           "  « 

Frederick  Piano  Co "  u  ^ 

Furlong,  A.  B.,  Piano  Co .  .  "  1910 " 

Gabler,  Ernest,  &  Bro "  1854    .  .  . "  « 

Greve,    G.    B "  i896  ....  .  .  .'  ...'.'.'.'.'.  [  [  '.  ]  '    " 

Hardman.  Peek  &  Co "  1842  "  '« 

Haines,   W.  P.,  &   Co '•  1898 .  .  '.  .  .  .     "  " 

Harrington,  E.  G.,  &  Co "  1886 "  " 

Hasbrouck   Piano   Co "  1886  "  " 

Hazelton    Bros "  1840     "  " 

Homer  Piano   Co "  1907  «  « 

Howard,  R.  S.,  Co "  1902                                  "  « 

Jacob    Bros "  1878     "  « 

James   &   Holmstrom "  1874    '<  « 

Janssen,    B.    H "  1901  «  a 

Keller,   Henry.   &    Sons "  1892     .                                »  u 

Kelso,  S.  R.  .* "  " 

Kelso  &  Co "  1891 "  " 

Kindler    &    Collins "  1910     "  " 

Kirchhoff,  Lawrence "  1901     "  « 

Kohler    &    Campbell "  1894     "  " 

Krakauer  Bros "  1869     "  " 

Kranich    &    Bach "  1864     '■  " 

Kroeger  Piano  Co "  1852     "  " 

Laffargne    Co..    The "  1896     "  " 

Lawson  &   Co "  1906     "  " 

Leckerling  Piano  Co "  1886     "  « 

Leins,   E.,   Piano   Co "  1889     "  " 

Lindeman.  Henry  &  S.  G "  1S36     "  " 

Lindeman  k  Sons  Piano  Co "  1887     "  " 

Lockhardt   Piano  Co "  1892     "  « 


APPENDIX 


463 


1871 
1889 

1892 
1846 

1882 

190() 
1844 
1889 
1902 
1898 


Lock-wood   Piano  Co Estiihlislicd 

Lud\vi<i[  &    Co " 

Macfarliiiu'.    Jolin " 

Alansficld  Piano  Co " 

IMarsliall    &    Wi'ndcll    Piano    Co " 

]\Iatlnisli('i<    &    Son    IMano    Co " 

:\[clilin.  Paul  C  &  Sons 

]\h4/.ki-,   ().,   &   Son 

Milton    Piano   Co " 

Ni'edham   ]*iano  Co " 

New  by    &    iMans " 

Ouvrier  J^ios " 

Palmer    Piano    Co " 

Pease    Piano   Co " 

Peerless  Piano  Player  Co " 

Peters,   W.   F.,   Co 

Radle,  F 

Regal  Piano  &   Player  Co " 

Rehbein    Bros " 

Ricca   &    Son " 

Rudolf  Piano   Co 

Seliencke   Piano   Co " 

Schleic'lior.  (ieo.,  &  Sons " 

Schubert    Piano    Co " 

Sohnier   &    Co " 

Solingen    Piano    Co 

Stadie  &   Son " 

Steck,  Geo.,   &   Co " 

Steinway   &    Sons " 

Strich  &  Zeidler 

Stroud  Piano   Co " 

Stultz   Bros 

Stultz  &  Bauer 

Stultz  &  Co 

Sturz   Bros 

Stuyvesant   Piano   Co " 

Toclmola    Piano   Co " 

Telclectric  Piano  Player  Co " 

Tonk,   Wm..   &   Bro 

I'niversal    Piano    Co " 

Valois  &  Williams 

Virgil   Practice   Clavier  Co " 

Walters  Piano  Co " 

Warde   Piano   Co " 

Waters,   Horace,  &  Co " 

Weber    Piano    Co " 

Weser    Bros " 

Wheelock  Piano  Co " 

Wing  &  Son 

Winter    &    Co 

Wright    Piano    Co 

Wissner,    Otto " 

Wuertz.    O.    W " 

Wurlitzer   :\rfg.    Co..   Rudolph " 

Sporer.    Carlson   &    Berry " 

Armstrong    Piano    Co "  

Brewster   Piano   Co "  

Cook  Piano  Co..  J.  B "  

Foster   &    Co "  

( iibbons    &    Stone "  1821 

(ioetzmann  &   Co "  1905 


.New  York 


1891     

1903     " 

1878     ...........'    " 

1882     

1872     

1910     

1899     

1857     " 

185;}     

1889     '  "    " 

1911     

1909     '    " 

1880     " 

1905     

1871     

1881     « 

1906  ........  .....^  ..'.'.'.'    « 

1881     « 

1908     " 

ce 

1889  ..  ...  .V...  ..'.'.'.'.".'.'  "    " 

1899     

1909     " 

1845     « 

1851     

1879     

1877     

1867     " 

1900     " 

1886 " 

1893     " 

1856    North  Tonawanda 

1801    Owego 

Rochester 


464: 


APPENDIX 


Haines    Bros ^Established 

Haines  &  Co 

Marshall  &  Wendell  Piano  Co 

Ropelt  &   Sons   Piano   Co " 

Engelhardt,  F.,  &  Sons 

Vough   Piano   Co 

Huebner    Piano    Co 


The,    Co Established  1862 


Ohio 
Baldwin, 

Butler   Bros.    Piano   Co 

Church    Co.,   The   John 

Ebersole  Piano  Co 

Ellington  Piano  Co 

Harvard    Piano    Co 

Krell   Piano   Co.,   The 

Valley  Gem  Piano  Co 

Wurlitzer,  Rudolph,   Co.,  The. 

Raymond  Piano  Co 

Columbus    Piano   Co 

Chase,  A.  B.,  Co 


Pennsylvania 

Lehr,  H.,  &  Co 

Kellmer  Piano  Co 

Colby  Piano  Co 

Blasius  &  Sons 

Cunningham  Piano  Co 

Lester   Piano    Co 

Oeser  Co.,  Fred,  The 

Painter   &   Ewing 

Schomacker    Piano    Co 

Bennett  Piano  Co.,  W.  C. .  . 

Kleber,  H.,  &  Bro 

Weaver  Organ  &  Piano  Co. 
Van  Dyke  Piano  Mfg.  Co.. 
Keller,   Dunham   Piano   Co. 


Wisconsin 
Conrad   Piano   Mfg.   Co.. 
Gram-Richtsteig  Piano  Co. 

Kreiter   Piano    Co 

Waltham    Piano    Co 

Netzow.    C.    F.,    Mfg.    Co. 

W^ilson  Piano  Co 

Miller,  S.  W.,  Piano  Co. 


.  Rochester 
.Milwaukee 


1901  

1889  St.   Johnsville 

1861  Waterloo 

Yonkers 


1910 
1859 
1910 
1890 

ISS.'i 
1889 
1890 
1856 
1856 
1904 
1875 


■  Cincinnati 


leveland 
olumbus 
Norwalk 


Established  1890    Easton 

"  1883   Hazleton 

"  1859   Erie 

1855    Philadelphia 

1891     

"  1888     " 


1893    " 

1838    

1900    Warren 

1841    Pittsburg 

1870    York 

1880     Scranton 

1909     


.Established  1910    Milwaukee 

1908    


1896    Sheboygan 


PIANO  SUPPLY  MANUFACTURERS 

Connecticut 

Pratt,  Read  &  Co Keys  and  Actions 1806  Deep   River 

Comstock,  Cheney  &  Co.,  The •  "  "  "        Essex 

Universal   Music   Co Music  Rolls 1904  Meriden 

Davenport,    John,    Co Iron  Frames 1868  Stamford 

Blake   &   Johnson Hardware 1849  Waterbury 


Illinois 

Gulbransen-Dickinson    Co Player  Actions 1906    Chicago 

Piano  &  Organ  Supply  Co Actions  and  Keys 1871      " 

Schaff,  John  A Strings 1889     " 

Oregon   Foundry   &   Machine   Co Iron  Frames 1907     Oregon 

Kurtz    Action    Co Actions 1903    Rockford 


APPENDIX 


4(33 


Massachusetts 

Schwamb,   1  lico..   Co Piano  Cases Arliiiftoii 

American    Felt  Co Felts 1S99 .Boston 

Faxon,  Ceo.  II..  Co Hardware 18.50  " 

Felters   Co.,   'I  lie Felts 1010  " 

Frazier,    Dm    F I  lanimers ]  sc,() 

Seaverns  Piano  Action  Co .\ctions iSol 

Standard   Action    Co "       1889 

Tower,    Sylvester,    Co Keys  and  Actions 1854 

Lockey,    I.  H.,   Piano   Case  Co Cases ] .s.>() 

Richardson    Piano    Case    Co •'     1891 

Smith,    F.   C "     [[[ .....'..'. 

Wellington    Piano    Case    Co "     1895  " 

Tuner's    Supply   Co..    The Tools 188.)     Somcrville 

Simplex   Player  Action   Co Player  Actions 1883    Worcester 


.  Cambridge 


Leominster 


New  IIa.mpsiiihe 
Parker    &    Young    Co. 


Soundijoards 1857    Lis! 


New  Jersey 

Abbott  Piano  Action   Co Actions 1858    Fort    Lee 

American    Musical    Supply    Co Supplies 1897 

National    Music    String   Co Strings 

Celluloid  Piano  Key  Co Keys 1S76 

Looschen    Piano    Case    Co Cases 1885 


.  .  .  .Jersey   City 
New    Brunswick 

New    York 

Paterson 


New  York 

Phelps,   :\I.   S..  Mfg.   Co "     1891    Brockport 

Brown   &   Patterson Iron  Frames 1861     Bnxiklyii 

Y'oung.  F.  W.  &  Co Actions 18G8     

Wood  &  Brooks  Co Actions  and  Keys 1901     BulTalo 

Cheney,   A.   C,  Piano  Action   Co Actions l!-'92     Castleton 

Davis,    I.    E.,    Mfg.    Co Cases 1903    Cortland 

Breckwoldt.   Julius,   &    Co Soundboards 1890    Dolgeville 

Ramsey,    Chas.,    Co Hardware 1897     Kingston 

New  York  Pianoforte  Key  Co Keys 1890    Middle'town 


Crnbb  &   Kosegarten   Bros Actions 1837 

American    L'nion    String   Co Strings 

Auto-Pneuniatic  Action  Co Player  Actions 

Connorized  Music   Co Music  Rolls 

Courtide.    Jos.    N Cases 1872 

Erlandsen,    J Tools 18(il 

G(.ei>cl,    C.    F.,    &    Co Hardware 1892 

Haas,   Henry,   &    Son '•  18(i0 

House.  C.  W..  &   Sons Felts 1002 

Ka])p.    Kdbt.    L..    Co Hammers 1910 

Koch.   Hud.   C Strings 1H58 

Mapes,  Stephen  S "       

N.  Y.  Co-operative  Piano  String  Co..        "       1^92 

Npw    York    Piano    Hardware    Co Hardware 1907 

Pfriemer.    Charles Hammers 1870 

Tingue,    Brown    &    Co Fidts 1901 

Ramacciotti.   F Strings 1-SG7 

Schirmer,    Charles Hardware lS<)ti 


Schmidt.  David  IL.  &  Co Hammers 

Schwander    Action    Co Actions 

Staib-Abendscliein    Co "       

Standard  Pneumatic  Action  Co Player  Actions. 

Strauch    Bros Actions 

Wasle    &    Co "       

Wessell,    Nickel    &    Gross "       


1856 
1845 
1890 

18(i7 
1876 
1875 


...  Nassau 
New  York 


466 


APPENDIX 


Engelhardt,    F.,   &    Sons Actions 1889 

Ohio 

Fairbanks   Co.,   The Iron  Frames 1890 

Kelley,  0.  S.,  Co "  "       1890 

Wickham  Piano  Plate  Co "  "       1890 

Wisconsin 
Billings   Spring  Brass   Flange  Co. .  .  .  Hardware 


St.   Johnsville 
.  .  ..Springfield 

.  .  .Milwaukee 


CANADA 

PIANO  MANUFACTURERS 
Nova  Scotia 
Willis   Piano  &   Organ   Co Established .  .  . 


.Stellarton 


Ontakio 

Snyder  &  Co.,  Wm Established  • 

Dominion   Piano   &   Organ   Co 

Doherty  &  Co.,  W 

Barclay.   Glass   &   Co 

Bell   Piano  &  Organ  Co 

Morris   Piano   Co 

Wormwith    &    Co 

William   Sons,   R.    S 

Williams   Piano   Co 

Martin  Orme  Piano   Co 

Blundall    Piano   Co 

Consolidated   Crossin   Piano   Co 

Gonrlay,   Winter  &   Learning 

Heintzmann   &    Co 

Heintzmann    Co.,    Gerhard 

Mason  &   Risch  Piano  Co 

Mendelssohn    Piano    Co 

Newcombe    Piano    Co 

Nordheimer  Piano  &   ^Nlusie  Co 

Owen   &    Son.   R.    S 

Stanley,    Frank 

Palmer    Piano    Co 

Uxbridge  Piano  &  Organ  Co 

Karn   Co.,   D.   W 

Thomas  Organ  &  Piano  Co.,  The .... 


.Berlin 


1870     Bowmanville 

1875     Clinton 

Dundas 

1S04     Guelph 

1892     Listowel 

Kingston 

1849     London 

Oshawa 

Ottawa 

Toronto 


1908 


1850 


1871 

1885 


.  Uxbridge 


1832 


.Woodstock 


Quebec 

Craig  Piano   Co Established  ■ 

Lafi argue    Piano    Co.,    The 

Pratte,  A 

Shaw  &  Co.,   J.  W 

Willis   &   Co 

Lesage   &   Fils 

Senecal  &  Quidoz 


.  Montreal 


St.  Therese  de  Blainsville 


PIANO  SUPPLY  :\IANUFACTURERS 
Ontario 

Barthelmes  &  Co.,  A.  A Actions — 

Best   &    Co.,    D.    M Hammers — 

Bohne    &    Co "  — 

Canada  Piano  Action  &  Key  Co Actions  and  Keys — 

Coates,    A.    E '. Strings " — 

Higel  Co.,  Otto Actions  and  Keys - 

Kerr,    A Actions - 

Loose,  Jos.  M Keys — 

Toronto   Piano  String  Mfg.   Co Strings .  .  .— 


.Toronto 


INDEX 


GENERAL   INDEX 


Action.   Practico,   Clavier.   82.   83 
Actions.  (Jraiul.  58.  5t).  60.  61,  84,  So,  88, 

89.  90.  91.  258 
Actions,   Ilammor,   .31.   41.   42.   43.   44.   45. 

46,  47.  48,  83,  84-96,  126-128.  261,  262 
Action,  "  Hopper."   218 
Actions.  riayor-Piano.  162 
Action.    Ucpctition.    247 
Actions.    Tpriglit,  53,  54,  91-96 
Agra  He.   61 

Bri(lj,'c.  Soundboard,  52,   109 

BiidiTc.  Linear.  323 

P>nsli  Tcniplc  of  .Music,  Chicago,  35G 

Capo  Tasto.  61 

Cases,  Grand.  38.  57,  58.  63.  64 

Cases,   Piano.    116-117.    119.    120 

Clavichord.  29,  30.  31 

Clavicvtheriuni,   29 

Clavier.   82.   83 

Collections  of  Musical   Instruments.  429 

Collections  of  Old  Instruments.  188,  428, 
429 

Conclusions.    433-439 

Conservatory  of  ^Music.  Bush  Temple.  Chi- 
cago, 356 

Consolidation  of  Large  Firms  in  Piano 
Trade.    182 


Haixs    Coiitiitved 

Krard.   253,   393.    398 
(iewandliaus    (Xew),  Leipsic,  388 
<;e\vandliaus   (Old),  Leipsic,  380 
Herz,  258,  393 
Pleyel,  257,  393.  399 
Steck,  318,  393 
Steinway,   London.   309 
Steinway,  Xew  York.  175.  302.  309,  390, 
393 

Hammers,  Piano,  97-106.  123 
Handel   and  Haydn   Societv,   276 
Harp.  Erard.  352.  353 
Harpsichord,   34-38.    188.    189 

Alessandro  Trasunti's  Art   (Insert  191) 

Janko  Keyboard,   78-83 

Ke.  Chinese.  28 
Keyboard,  37,   38,   77-83 

Literature  on   the  Pianoforte,  423-429 

.Alarketing  of    Pianos.   200.  201 
Monochord.  27 

Name.    \'alue    of.    in    the    Piano    Industry, 
213.  214 


Damper,   31,  47,  54 

Department  Stores,  a  Factor  in  tlie  Pi;i 

Industry.  182 
Dulcimer.  41.  42,  43 

Export.   199,  200 

Felt,   Piano.   120-123,   240.   241.   2.59 
Fliigel.   57-65 

Frames,  Iron,  Grand,  59.  61-63.  69-76 
Frames,  Iron,  Piano.   128 
Frames,    Iron,   Square.   50-52.   69.   302 
Frames,   Iron,   Upright,   53,  55,   56,   69- 
74.  75 

Hackbrett,  41.  42,  43 

Halls  : 

Aeolian.    331 
Bliithner.  393.  400 
Biisendorfer.   220.   393.  401 
Chickering.    175.   274,   391,   393 
Ehrbar,   222,   393 


Organ.    77 

Organ.  American  Cabinet,  316 

Pedal,  38 

Piano.  The  Art.  187-191 

Pianos.  Art  Grand 

Baldwin    Comjjany  (Insert  p.  190) 

Chickering  &    Sons  "         " 

Erard  "         " 

Everett    Piano    Company  "         " 

.Fohn  Broadwood  &  Sons  "         " 

dulius  Bliithner  "         " 

Ludwig  Brisendorfer  "         "' 

Pleyel.    Lyon   &    Co.  •'         " 

Rudolf   I  bach   Sohn 
Steinway  &    Sons  "  " 

^\t'ller  Piano  Coin]>any  "         '' 

William  Knabe  &  Company    "         '' 

Piano.  The  Commercial,  165.  175.   179-181, 
261 

Pianoforte.  41-48 

Piano.  Grand.  57-65.  69.  70-71.  77.  304 

Pianos,  in  Department  Stores.   182 


469 


470 


IXDEX 


Piano  Industry,  Leading  Firms  in.  213 
Piano     Manufacturers.     Consolidation     of, 

182,  183 
Pianos, 

Number  produced  per  year,  175,  206.  434 

^'aluc  of  vearlv  output,    175 
Pianos,  Pedal.   191-194 
Pianos,  Square.  47.  52,  57,  269.  302 
Pianos,  Stenciling.  182 
Piano.    Upright,    53-57,    65,    70,    71,    Insert 

190.   260 
Pianos.   Value   of   Xame  on.   in   the   Piano 

Industry.   213-215 
Piano.   Vertical   Grand.   48 
Pins.   Hitch   and  Tuning.    128 

PiAxo  Players  axd  Pi.wer  Pianos: 
"  Aeolian  "  Organ,  327 
"Aeriol"  Pianos,  147.   150.  328 
"  Angelus  "    Piano   Phiyer,    138 
"  Apollo  "  Piano  Player,   154 
"  Aristano  "  Grand  Player  Piano.  375 
••  Artistyle."  158 
"  Ariston  "   Piano   Phiyer.   155 
Bishop     &     Downe's     Keyboard    Attach- 
ment,   1883.    136,   139  ' 
Brown's   Interior  Player,    1897,    150 
Bain's  Automatic  Piano.  133 
Cecilian   Player   Piano,   372 
"  Celestina  "    Orguinette,    327 
Clark's  Stroke  Button,  1905,  155,  156 
Clark's  Stroke  Button.  1907,  155.  156 
Clark's    Transposing    Deyice.    1899.    151. 

152 
Clark's  Transposing  Deyice.   1902,  152 
Crook's   '•  Themodist."    1900,    158.    161 
Danquard's   Flexible   Finger  Mechanism, 

1904,    154,    155 
"  Dea  "   Piano   Player,    157 
Fourneaux's    "  Pianista,"    133,    134,    135 
Gally's    Player    Mechanism,    1881,    136, 

138 
Goolman's    "Harmonist"    Player.    1S98, 

152,   153.  379 
Hobart's  Endless  Tune  Sheet,   1908,   154 
Hupfeld's  '■  Phonola  "  Player,  1902.   155. 

157.  158,    159 

Jacquard's  Perforated  Endless  Card- 
board,  133 

Kelly's  Wind  ]Motor  with  Slide  Valyes. 
1886.    136,    139 

Keeley-Danquard    '"  Temponome."     1911, 

158.  162 

Klugh"s  Auxiliary   Key,    1906.    153,   155 
Kuster's    Mechanical    Instrument.    1886, 
130,  140 


ilcTammany's    Automatic    Playing    Or- 
gan,  186S.   134.   135,   136,   137 
"  Metrostyle  "   Player  Piano,   158,    161 
Morse's   Automatic  Organ,    132 
Pain    and    Kuster's    Self-playing    Piano, 

136.    137 
Pape's  Automatic  Piano,   133 
Parker's    Automatic    Piano,    1892,    137, 

141.   142 
"  Peerless  "  Piano  Player,  152.  379 
'•  Phonola  "  Piano  Player,  155,  157,  158, 

159 
"  Phrasing  Lever,"    158 
'•  Pianista  "  Piano  Player,  133,  134.  135 
"  Pianola  "   Piano   Player,   150.   372 
Player  Pianos,  131-162,  194,  195 
Seytre's  Automatic  Piano,  133 
"  Simplex '   Piano   Players,    150 
"Temponome."   158,   162 
"Themodist"  Player  Piano.   158.   161 
Vaucanson's  Pierced  Cj'linder  for  Auto- 

mr.tic  ^lusical   Instruments,   133 
Votey's   Cabinet  Player,    149,   150 
Welin's   Individual  Valve  System.    1902, 

155.   157 
"  Welte  ^lignon  "  Piano  Player.   157 
White    and    Parker's    Combination    Up- 
right   Piano    and    Reed    Organ,    1895, 
143,  144 
White    and    Parker's    Automatic    Piano 

Player,   1897,   145-148 
Yovmg's  "Metrostyle."    1901,   158,   101 

Pvesonator.    110.    Ill 

Scale.   Diatonic   and   Chromatic.    77 

Scale.   Equalizing.  323 

Scale,  Flat,  49,  62,  70 

Scale,   Overstrung.   51.   52.   54.   5'o.   62.    63, 

64,  71.  302 
Soundboard.   31,    106-111.    117-119 
Spinet.  32.  33 

Hans  Ruckers  Double    (Insert  p.   191) 
Stencil,   Legitimate   Use  of.  .182 
Strings,  31,  38,  53,  54.  55.  69 

Trade  Associations  Among  Manuf:u-turer3 

and  Dealers.  405-411 
Trade   Press.   The.   415-420 
Trust  Movement  of   1892.   1897,  and   1899, 

205 

Virginal,  33,  34 

Wire.   Piano.    123-120,   242 
Wrest  Plank,  49 


INDEX   OF   NAMES 


Abbott.   Frank  A..  417.  418 

Abbott  Piano  Action  Co..  321 

Adam.  C.-ilianl.  231 

Ai'oliuii  ((.inpanv.   147.  150,  152.  182,  190. 

2!)!t.  31!».  32G.  329,  330.  332,  334.  372 
Aeolian  Coinpanv.  Ltd..  332 
A('t)lian  Organ  &  Music  Company.  327 
Aeolian.  Weber  Piano  &  Pianola  Company, 

332 
Albrcciit.  Cliaiies.  50 
Allen  and  Tlioni.  50.  00.  70 
Allffiiier  &   Zoon.   263 
Allison.  Arthur  &  Co..  248 
American    Piano   Company.    183,   276.   286. 

296.  335 
Ammoii.   .John.    104.   105 
.\mpliion    Company.   334 
Andre.    Cn-l.   408* 
An<rel<).   Michael.    166 
Arion  Piano  Co.,  366 
Ariston  Company,  334 
Armstronjj.    Ceorj^e    B..    418 
Armstronji.  (Jeorge  W..  Jr..  34(!.  347 
Armstrong  Piano  Co.,  336 
Arnold.  Richard.  274 
Auto  Crand  Piano  Co..   155.  358 
Automatic  .Music  Paper  Company.  327 
Autopiano  Comiiany.  333 
Auto-Pneumatic   Action    Co..   334 

Babcock.  Alplieus.  50.  69,  97,  270 

Babcock.  Lewi.s.  270 

Bach,  Emanuel.  31 

Bach.  .lohann   Christian.   387 

Bach,  .lohann  Sebastian.  31.  32.  45.  86. 
167,  194,  276,  385,  386 

Backers  (Becker),  Americus,  46,  47,  58, 
87.  88.   168 

Bacon.   Francis,   277 

Bacon.  Ceorge.  277 

Bacon    Piano   Co..   277 

Bacon,  \V,  II.   P..  277 

Bailey.  P.  J..  147 

Bain,'  133 

Baldwin  Company.  The,  64,  74.  181.  In- 
sert   191,    346-348 

Baldwin   Piano  Co..  346 

Baldwin  &  Co.,  D.  H.,  346 

Barnett   &    Son.   Samuel,   248 

Barnhorn,  C.  T.,   190 

Bauer.  .Julius.   362 

Bauer  i  Co..  .Julius,  362 

Bechstein,    Carl.    235.    236 


Becker,  Jacob,  264,  265 

Beethoven,    Ludwig   yon,    37.    59,    87,    218, 

219,    3«7,    388,   400 
Behning,   Custay,   320 
Relming.    Henry,    319,    320 
P.chiMMg.  .Ir..  lienry.  320 
Beiuiing  Piano  Compiny.  320 
Behning  &   Son.  Henry."  319.  320 
Behr   Brothers,   336 
Bell  rend,  Johann,  48 
Benedict.    Sir    Julius,    318 
Bent.  (Jeorge  P.,  362.  Insert  410 
Berden  &  Co..  Francois,  263 
Bergiu'r.  F.,  274 
Berndt.  Traugott,  232 
Bietepage,    Michael    A.,    265 
P.ill.    Edward    Lyman.    417,    425 
P.illinghurst.    h!    F..    248 
P.illnn.    121 

Binningham    Orgui   Co..   370 
Bisiiop   &    Downe,    136,    1.39 
r.lackmore,  D.  J.,  Insert  410 
Blasius   Piano  Co.,  330 
Blondel.  AI])honse,  254 
Bl<)<inifi(dd-Zeisler.    Fannie.   356 
Blumenl)erg,   Marc  A..  417 
Bliithner.    .hilius.     169.     190.    Insert    191. 

233-235.  424 
Bliithner,    :Max.    409 
Boardinan.  William.  277,  278 
Boardman    &    Cray.    277,   286 
Bond.   Albert  S.,   373,   374 
Bond.  S.  B..  372.  373 
Boone    Fils.    263 

Bord,  Jean   Denis  Antoine,    171.   261 
B(isendorfer.    Ludwig.    64.    88,    189.    Insert 

191.   219.   220,   397,   407 
Bossert.  William,  278.  279 
Bourne.  Charles  H..  279 
Bourne,  \\illiam,  278,  279 
Bourne  &  Comi)any,  William.  278 
Bradbury.  William  B..  314 
P.iadley.   Kenneth    M..  356 
Bnitkopf  &  Hiirtel.  109 
Brewster  Piano  Company.  336 
liriggs,   C.  C,  293 
Briggs  Piano  Co..  338 
Brinsmead.  Edgar.  173,  247,  425 
Brinsniead,  .John.  94,   173.  247.  248 
Brinsmead,  Thomas  .Tames.  247,  248 
Broadwood.  Henry   Fowler,  245 
Broadwood,  James  Henry  .Shudi,  245,  246 
Broadwood,   James   S.,   59.   245 


471 


472 


INDEX 


Broadwood.    Jolin,    48,    59,    G2,    243,    244, 

388 
Broadwood,   Thomas,   245 
Broadwood.    Walter    Stewart.   245 
Broadwood  &  Sons.  70,  75.  88.  94,  157,  172, 

173.   ISl),  Insert   190,  242,  245 
Brooks,   Ltd.,    126 
Brown   &    Hallet,    280 
Billow.  Hans  von,  228,  274.  390.  391 
Buschmann.    Gustav    Adolpli,    232 
Bush,  William  L.,  355,  35(3,  357 
Bush,   William   H.,  355,   356 
Bush  &  Co.,  William  H.,  355 
Bush   &  Gerts   Piano   Co.,   357 
Bush   &   Lane,   362 
Burns,   Edward   M.,   287,   288 
Burns,    Francis    Putnam,    286,    287 
Busoni.  158.  .392 
Butcher.    Thomas,    247 
Byrne.  J.  P.,  Insert  410 

Cable,  Favette  S..  344.  345 

Cable,  li.'D..  343,  344,  345 

Cable,  Hobart  M.,  344 

Cable  Company,   155,  345 

Cable  Company,  Hobart  M.,  362 

Campbell,   John   Calvin,   334,   335 

Camp,  Isaac  X.,  376 

Carreno,  Teresa.  309,  338,  392,  398 

Challen,  C.  247 

Challen,  William.  247 

Challen  &  Son,  247 

Chambers,  277 

Chaminade,  338 

Chappell  &  Co.,  248 

Chase,   A.   B.,   374 

Chase,  Braton   S.,   358 

Chase  Bros.  Piano  Co..  358 

Chase  Co.,  A.  B.,  374,  375 

Chase-Hackley  Piano  Co.,  358 

Chase,  Milo  J.,  349 

Chase  Piano  Co..  349,  358 

Chase  &  Baker  Company,  334 

Chassaign    Freres,  263 

Chicago  Cottage  Orgm  Co..  343 

Chickering  Brothers,   362 

Chickering,    C.    Frank,   273-276 

Chickering,    George    H..    275.    276 

Chickering,  Jonas.  51.  52.  70.  174.  270-272 

Chickering,  Thomas  E.,  273 

Chickering  &    Sons,    183,    190.    Insert    190, 

273.   274,   276.   .335 
Chilton  Piano  Companv,  332 
Chopin.  Frederic,  79,  171,  253,  256,  388 
Choralion   Co.,  332 
Christofori,   Bartolomo,   42,   44-47,   58,    86- 

88,  97,   166,  216 
Church   Company,  John,  337,  338 
Clark,  Melville,  "151,  152,  154-156,  376-378 
Clark  Piano  Co.,  Melville,  362,  377,  378 
Clark   &   Rich,   377 
Cleland,  J(mas  I\I.,  Insert  410 


Clement.  Louis  H.,  Insert  410 

dementi.  :Muzio,  245,  246,  392 

Cludsam.    78 

Collard.  Charles  Lukev,  246 

Collard,    F.    W.,    246 

Collard,   W.  P.,  246 

Collard  &  Collard,  246 

Collins,   Benjamin,    100,    104 

Conover,   J.    Frank.   344 

Conway,   C.   C,   286 

Conway,  E.  E.,  286 

Conwav,  Edwin  Stapleton.  340-343,  Insert 

410 
Cook  Piano  Co.,  J.  B.,  336 
Cramer,    392 

Crehore,    Benjamin,    50,    270 
Crew,  B.  B.,  Insert  410 
Crooks,  J.   W.,    158,    161 
Cuijpers,   J.    F.,   263 
Cunningham  Piano  Co.,  336 

D'AIbert,  Eugene,  285.  309 

Damrosch.   Leopold,   309 

Daniell,   C.   A.,   418 

Danquard.    Thomas,     154,     155,     158,     162, 

333,  334 
DaVinci.   166 
Davis,  George  H.,  286 
Decker,   Frank  C,  317.  Insert  410 
Decker.   :\Ivron   A.,   287,   317 
De  Pachmann,  158,  274,  348,  392,  397,  398 
Detroit  Organ  Co.,  371 
De  Wit.  188,  418,  427,  428,  Insert  428,  429, 

438 
Dickinson.   100 
Diederichs.  Gebr.,  264 
Ditson  &   Co.,   Oliver.   350.   351 
Doane,  Wing  &  Gushing.  336 
Dobbs,  W.  C,  246 
Dolge,   Alfred.   99,    106,    117 
DoJmetsch.  438 
Dorner  &  Son,  F.,  231 
Dorr,  Karl,  222 
Doud,  L.  L.,  375 
Dreher,   Henry,   Insert   410 
Droop.   E.   H.,    Insert  410 
Dubois,   277 
Dubois  &  Stodart.  288 
Dunham,    .John    B.,    322 
Durkee.    George    B.,    352 
Dutton,   William   Dalliba,   Insert  410 

Eaton,   George   L.,   330 
Eavestaff   &    Son.   248 
Eddy,   Charles   H..   336 
Eddv,  Clarence.  372 
Ehrbar,   Friedrich,   220,   221,   407 
Elirlich,  Paul,   155,   157 
Ekstrem  &  Co.,  G.,  263 
Emerson   Piano  Co..  293 
Emerson,  William  P.,  292.  293 
Engelhardt,   Alfred   D.,   379 


INDEX 


473 


EiijTclharclt.  Fmloric-k,  378.  379 

Eii^cllianlt,  \\altcr  L.,  37!) 

Kii-,'clliardt   &    Sons.    F..    152,    154 

Kranl.   .lean    Jiaptist^-.   252,   254 

Kiaiil.   Picni'.  5S.  (il,   1!)!),  254 

Erard,  Sebastian,  48,  58-(il,  70,  79,  88,  92, 

171,    189.    Insert    190,    191,    199,    214, 

233,  251-254 
Essipoir.   Annette,   309.   318 
Estela,    Pindo    de    Pedro,    2(52 
Estey,  Jacob,  3()3-3t)5 
Estey,  Jacob  Gray.  3(iG 
Estey,  J.  Harry.  '3()G 
p:stey,  Julius,  '3U4-3G() 
Estey  (^rgan  Co.,  304 
Estey  Piano  Co.,  304 
Everett   Piano   Co.,    181,    1!)(),    In>cit    I'lO. 

337 

Fal)er.  Daniel.  30 
Farrand  Co.,  Tlie,  3G2,  372 
Farrand,  W.  K.,  371 
Farrand  &  Votev  Co.,  371,  372 
Fetis.   :\r.,   29.   423 
Feiirieli.    Hermann.    409 
Feurieh,  Julius.  230 
Fischer.    A.    H..    Insert    410 
Fischer.  Carl.  107.  210.  289 
Fischer,    Cliarles    8..    280.    290 
Fischer,    John    IT..    289.    290 
Fischer,  J.  &.  C.  210.  290 
Fisclier.    P.    F..   98.    121 
Fortin.  121 

Foster,  Armstronp;  &  Co.,  183 
Foster.    C.   H.   W.,   330 
Foster  &  Company,  335 
Fournea  n\.   1 33-1 35 
Fox.  Orrin  L.,  417 
Freund.   Harry  E.,  417 
Freund.  John   C  410,  417 
FricI<inoer.   F.  W.,   127,  287 
Friederici,  C.  E.,  48,  49,  91,  92 
Fritz  &   Merer,   127 
Fritz   &    Soiin.   J.,   222 
Fuchs.  123 
Fuller,   Levi   K..    304.    3G5 

Gal.lcr,  Ernest.  314 
Gal)rilo\vitsch.  Ossip.  398 
Gaehle.  Heniy.  2S3 
Gallv.  Merritt.   130.  138 
Gaveau,  J.  G..    171.   201 
Gebauhr.    C.    J.,    231 
Gehrling.  Charles,   127 
Geib.   108 

Gennett.  Harry.  349 
Gennett.    Henry.    .349 
Geronimo.  57.   188.  210 
Gert.s.  John.   355.   350 
Gertz.  Richard  \V..   110,   111 
Gevaert.   V..   203 
Gibson,  J.  H.,  337 


Gilbert  &    Co.,    174 
(ioll.  Jacob,  108 
Gonipli.  (ieorpe,  287 
Goolnian.  F.  K..  152,  153 
finttschalk.    194 
(Jrainer.    J.,    293 
fJrain-Richtsteig  Piano  Co.,  302 
Gray,    James    A.,    277.    278 
Gray,  James   Stuart,   278 
Gray.    William    James.    278 
Gregory.    Itohert    B.,    353 
Gretschel.    lieinrich.  424 
Grinnell    Brothers,   302 
Grinnell,   C.   A.,    Insert  410 
(Jross,    Cliarles    J..    292 
Gross,  Jacob,  291,  292 
Grotrian,   Wilhelm.   74.   232 
(irover  &  G rover,  248 
Grovesteen,   Fuller  &   Co.,   280 
Grovesteen,  James  II.,  280 
Grul)b  &    Kosegirten   Brothers,    127 
Grunewald  &  Co.,  L.,  378 
Guarra,   Ilermanos.   202 
Guido,  28,  77,  215,  210 
Guilmant.  371 

Gulbransen-Dickinson    Co.,   334 
Giintiier,  J..  203 
Giinther    &   SOline,  230 

Hacklev,    C.    H.,    358 

Iladdorff   Company.   302 

Hale.  .Joseph   P..   179-181.  200 

Haines   Brothers,   295,   290,   335 

Haines.   Francis.  294,  295 

Haines.   Xa])oleon   J.,   294-290 

Hallet  &   Davis  Piano  Co..  280 

Hals.   Brodrene.   203 

Hamilton    ()rg;in    Co..    340 

Hamlin.   iMumons.  315 

Handel.    243.    385 

Hannemann.  Robert.  424 

Hansing.  Siegfried.  91.  100-1  OS.  420 

Hardman,  Hugh.  290 

Hardman.  John.   290 

Hardman,   Peck  &   Co.,  290 

Ilarger.    C.   B..   418 

Harvard  Piano  Co.,  338 

Hawkins.  .John   Isaac,  53.  09 

Havdn.  243.  385 

IlaVwood.  Sanuiel,  158,  190 

Hazelton    Brothers,  288 

Hawlton.    F.  &   H.,  288 

Hazelton.   Halsev,  289 

Hazelt(m.   Henry.  280,  288 

Haz(dton.  John."  288 

Hazelton.  Samuel,  289 

Hazelton.  Talbot  &  Lvon,  288 

Ilealv.    Mark.    354 

Heal'v,  Patrick  Joseph.  350-353 

Ilealy.   Paul.   354 

Hebcnstreit.  42 

Ileintzmann.  Theodore  A.,  313,  314 


474 


INDEX 


Heitzmann.  Otto,  222 

Helfterich,   232 

Helmholtz,  304,  305,  425.  420 

Hen-burger,  Josef.  91,  1)5.  201.  202 

Herz,  Henrv.  85,  89.  171.  257-2.59,  392,  393 

Heyer,   Wilhelm,    188,   429 

HeVl,    G..    231 

Hiidebrand.    84 

Hiller,   257 

Hipkins.  A.  J.,  53,  91.  425 

Hobart,  A.  J.,  154 

Hoffmann,  Richard.  275 

Hofmann.  Josef.  391.  392.  399.  400 

Hollenberg,   F.   B.   T..   Insert  410 

Hopkinson,  James,  247 

Hopkinson.    John,    247 

Hopkinson,  J.  &  J..   173,  247 

Hornung  &  Moller,  203 

Houghton,   W.   D.,    125 

Hoxa,   01.   70 

Hume  &  Co.,  338 

Hummel.  257 

Hupfeld,  Ludwig.  155.  157-159 

Ibach,  Carl  Endolf.   223 

Ibach,  Johannes  Adolf.   1G8.  222 

Ibach.   Rudolf.    224.    225 

Ibach  Sohn.  Rudolf.  189.  Insert  190.  224 

Ibach,  Walter,  225,  220 

Irmler,   Emil,   227 

Irmler,    Johann    Christian    Gottlieb.    109, 

225,  220 
Irmler,    Oswald.    220,    227 
Irmler,  Otto,  227 
Isermann,   C.  W.,  238 
Isermann.  J.  C.  L.,  237,  238 
Isermann.   Ludolf,    123,   120,  237,  239 
Ivers   &  Pond  Co.,   338 
Izabel,   Louis,   202 

Jacob   Brothers.   321.   325 

Jacob,    C.   Albert.    321.   322 

Jacob,   Charles.   321 

Jacob,  John  F.,  321 

Jacquard.   133 

James,    A.    C,    280 

James  &  Holmstrom.  280,   321 

Janko,    Paul    von.    78-83 

Japanese  Musicil  Instrument  ^Ifg.  Co..  206 

Jardine.  John,  62 

Jewett  Piano  Co..  338 

Johnston.   R.   A..    346 

Joseffv,    Rafael,    158.    274.    285,    309.    391, 

398 
Kaim  &  Giinther.  230 
Kaim  &   Sohn,  230 
Kalkbrenner,  256,  257,  392 
Kaps,  Ernst,  64 
Keeley,    158,    162,   334 
Keller,  90,   127 

Kelly,  George  B.,  136,  139,  160,  331,  332 
Ketten,  Henrv,  274 


Kimball,   C.  K.  280,   343 
Kimball.   O.    A..   293 
Kimball.  William  Wallace.  339-343 
King.  Arthur  P..  302 
King.   Julie   Rive.   356 
Kirkman,    77,    172 
Klugh.   Paul  B..   153,   155 
Knabe.   Ernest,  283-286 
Knabe.    William,   282 
Knabe.  William,  Jr.,  283,  285 
Knabe  &  Co..  William.   175,   183,   190,  In- 
sert 190.  283-285,  335 
Knabe  &   Gaehle,   283 
Knake.  Gebriider.  231 
Kohler.  Charles.  334 
Kohler  &  Campbell,  334,  335 
Kraft.    Theodore    J..    338 
Krakauer  Brothers.  327 
Krakauer.   Daniel.   327 
Krakauer.   David.   320 
Krakauer.  Julius.   327 
Krakauer.    Simon.    320,    327 
Kranich  &   Ba_ch.  336 
Kraiise,  Dr..   78 
Krehbiel.   Henrv   Edward,   427 
Krell.    Albert.    357.    358 
Krell.  Alexander.  357,  358 
Krell  Auto  Grand  Piano  Co.,  157 
Krell-French  Piano  Co..  358 
Krell,  Jr..  Albert.  357.  358 
Krell   Piano  Co.,  358 
Kreter,  Rudolf,  99,   100 
Kriegel stein,   Charles,   259,  261 
Kriegelstein,  Georges.  261 
Kriegelstein,  Jean  Georges.  260,  261 
Kriegelstein  &  Co.,  260 
Kunz.  58 

Kurtzmann,   Christian,   292 
Kuster,    Charles   A..    136,    140 
Krister,   Henry,    136 

Laffert.  Oscar,  428 

Langer  &   Co.,   F..   90.  95,    127,  239 

Laviter.  336 

Lawrence.  R.  W.,  333 

Lawson.    Charles   B..    326 

Lee.  Frank  A.,  337-339.  Insert  410 

Lester  Piano  Co.,  336 

Lexow,  127 

Lighte  &  Xewton.  314 

Lindeman.  Henrv,  280 

Lindeman.  Samuel  G..  280 

Lindeman.  William.  279.  280 

Lindner,   I.   P..   231 

Lipp  &   Sohn.   Richard.  231 

Liszt.  Franz.  194.  225,  305,  389,  397 

Loud  Brothers,   62 

Loud.  Thomas,  53,  84 

Ludwig  &  Co..  336 

Lufkins,    W.    W.,    342,    343 

Lydecker.  Peter  De  Witt,  381 

Lvon,  George  W.,  353 


INDEX 


(i> 


Lyon.  Gustave.  257.  40G 
Lyon  &  Healy,  350-354 

MacKay,  Jolin.  174.  270.  271 

Malmsj.i.    I.   <;.,    2(J3 

.Mand.  Carl,  231 

Marius.    41.    42 

]\Iarsh:ill,  James  &  Traver.  287 

Marshall.  Sir  Ht-rbcrt.  409 

Marshall   &    Mittaiicr.   320 

Marshall  &  Wendell.  287,  335 

ilartin,   Jane,   427 

Mason.  Henry,  315 

Mason.  John'  W..  326 

!Mason,    Lowell.   315 

:\Ias()n  &  Hamlin.  70.  110.   181.  315.  310 

Mason.  -J.  R..  370-372 

[Mathews.  Mason  .1..  327 

Matluishek.    Frederiek.    84.    85.    100.    108. 

109.  123.  321-325 
Matluishek  Piano  Co..  323 
[Matluishek  &  S(m.  325 
Mathushek  &  Sons  Piano  Co.,  321 
[Matzka.    George,    274 
:\kPhail.  A.  M..  278.  279 
MePhail  Co.,  A.  M.,  279 
[MeTanunany.    John.    134-137 
:Mehlin.  II.  Paul.  Insert  410 
:\I.'hlin  &  Sons.  330 
[Mendelssohn.    Felix.    191.    228 
-Menter.  Sophie.  228.  318,  399 
[Merekel.   123 
[Merrill   Piano  Co..  338 
[Methfessel.  Albert.  300 
[Merer  &  Co..  174.  231 
[Miller.    Henry    F.,    330 
[Miller.  .Tames  C,  Insert  410 
[Miller.  Jr..  Henry  F..  337.  Insert  410 
[Miller.   [Martin.   124.   125 
[Miller  &   Sons   Piano  Co..   Henrv    F..    194. 

.336.  337 
[Mills.  S.  B..  .309 
[Mola.   167.  216 
[Mollenhauer.    C.    274 
[Monninjrton  &  Weston.  248 
[Monroe  Organ  Reed  Company,  328 
[Montana.  262 
[Moore.   William,   293 
[Morgenstern   «S:    Kotrade.   127 
[Morse.  Justinian.   132.   133 
[Moseheles.   169.  257 
[Mo.ser.  108 

[Mott.   Henry  A..  426 
[Mozart.    Wolfgang    Ainadeus.    32.    59.    87, 

218.   243.   385-387 
[Musin.   Ovid,   350 

Xagel.  G.   L..  231 

Xaish.   121 

Xeitzel.   Dr..  338 

Nelson  Co..  The  H.  P.,  362 

Xeuhaus,  78 


Newman   Brothers.   302 

Nickel,  Adam.  380,  381 

Nickel.  .Jr..   Henry,  381 

Nickerson.  William  K..  417.  418 

Nieniaiui.    Dr.    Walter.    285.    424.    426 

Nishikawa    &    Son.    266 

Norton,    Edward   Quiney,    425 

Nunns,   William,   289 

Nunns  &  Clark,  174 

Nunns  &  Company,  William,  308 

Nunn.s  &   Fischer,  289 

Oor,  J..   263 
Orchestrelle  Co..  332 
Ortiz  &  Cusso.   171 
Osborn.  John.  50.   270,   286 

Packard.   Isaac  T.,  372 

Packard   Co..   373,   374 

Paderewski,  I.  J..  392.  399 

Pain,  R.  W.,  136,  137.  331 

Paine,  J.   H.,   275,  276 

Pape.  Henri,  84,  93.  98,  108.  121.  133.  191. 

259,  260 
Parker,  William  D.,  137,  1.38,  141,  142 
Parsons.  Charles  H.,   Insert  410 
Patzschke.   C.    W.,   240 
Patzschke.    F.   W..  240.   241 
Patzschk«".    Rudolf.  241 
Paul.   Dr.   Oscar,   424 
Payson.   Edward  S.,  293,  Insert  410 
Pease   Piano  Co..   336 
Peck.   Leopold.  290 
Perkins.    Edward    R..    330 
Perzina.   Paul,  79-83 
Pfeirter.    .\.    J..    231 
Pfeiffer.   Carl   J..    101-1!)4.   231 
Ptister.  IL.  231 
Pfriemer.  Charles.  382 
Pianola   Ctniipany,  332 
Pianola    Company   Proprietiiry,    Ltd..   The. 

332 
Plaidy.    169 

Pleyel.    Camille.   256.   257 
Pleyel.   Ignace.  54.  93.  254.  257.  392 
PleVei.    Lvon   &   Co..    124,   171,    190.   Insert 

'  190.  191.  257 
Pleyel,  [Madame.  257 
Pleyel.  \\olff  &  Co..  125 
Poe'hlmann.  [Moritz.  124.  125,  237,  242 
Poehlmaini.   Richard.   242 
Poehlmaiui  &  Son,  248 
Pond.    Handel,    Insert    410 
Poole   Piano   Co..   338 
Post.  Charles  X.,  352-354 
Powers.    Patrick   II..   293.   294 
Price  &  Teeple.  3»)2 
Pugno.   348 
Putnam.  Charles  R.. 
Pj'thagoras,  27 

Quigg.  J.  Travis,  417 


Insert  410 


476 


INDEX 


Rachals,  Adolf  Ferdinancl.  233 

Kachals,  Edward  Ferdinand.  232-234 

Rachals,  Mathias  Ferdinand,  232,  233 

Raven.  277 

Reed,  P.,  287 

Reinecke,   169 

Reisenauer,   338 

Remenvi.   Ed.,   274 

Rijken   &   de  Lange,   263 

Rimbaiilt.  Dr.  Ed.  F.,  34,  423,  424 

Ritmiiller.  Andreas  Georg,   168,  226 

Ritter.  231 

Rohlling.  Gebrlider.  231 

Rollason  &  Son.  124 

RCnisch.   Carl.   236,   237 

Roosevelt.  Frank.  371 

Roseler,   167,  216 

Rose,   Frederick,   245 

Rose,  George  D.,  245,  409 

Rose.    George   Thomas.    243 

Rosenkrantz,   Ernst,    168 

Rosenkrantz,  Ernst  Philip.  226 

Rosenkrantz.  Friedrich  Wilhehn.  226 

Rosenthal.   Moriz,    158,   285,   392,   393,   398 

Rossi.  33 

Roth.  A.  P..  379 

Roth  &  Engelhardt,  379 

Rubinstein.  Anton.  175,  305,  309.  390,  338 

Puckers,  Hans.   166,   188,   Insert   190 

Pummel,  Franz,  275 

Sackmeister,   84 

Saint-Saens,  257.  285 

Sauer,  225 

Scarlatti,  37,  276 

Schaaf.  Adam,   362 

Schaeffer  Piano  Mfg.  Co.,  362 

Scharwenka,    Xaver,    275 

Scheel,  Carl.  233 

Schiedmaver,   Adolf,   228,   229 

SchiedmaVer,  Adolf,  Jr.,  228,  407-409 

Schiedmaver,   Balthasar,    168,   228 

Schiedmaver,   Hermann.   228,   230 

Schiedmaver,  Johann  David.  168,  227.  228 

Schiedmaver,  Johann  Lorcnz,   22S,  229 

Schiedmaver,  J.  &  P.,  229 

Schiedmayer,  Julius,  229-231 

Schiedmayer,  Lorenz,  168 

Schiedmaver,  Max,  230 

Schiedmayer,   Paul,  229,  232 

Schiedmaver   &   Sohne,   228 

Schiller  Piano  Co.,  362 

Schmidt,   David  H.,   381 

Schmidt,    Franz,    407 

Schmidt,    Johann,    53 

Schmidt,   John    Frederick.   381 

Schneider's   Neffe,   Josef,   222 

Schomacker,  Henry  C,  282,  336 

Schomacker,  John 'Henry,  214,  280,  281 

Schomacker  Piano  Co.,  281 

Sch()ne,  Louis  P.,  191 

Schroder,  Carl,  265 


Schnlder,  Carl  Xicolai.  263-265 

Schrikler,  Johann  Friedrich,  262,  264 

Schroder,  John,  265 

Schrckler,   Karl   Michael,   264 

Schroder,   Oskar.  265 

Schroter,  Christoph,  42,  43,  45,  86,  88,  165 

Schulz  Co..  M.,  360 

Schulz,  Mathias,  359,  360 

Schulz.   Otto,   360 

Schumacher.  Johann  Heinrich.  214.   280 

Schumann  Piano  Co.,  362 

Schumann,   Robert.    191,    194 

Schwander.  Jean,  91,  95,  127,  260-262 

Schwarz,  M.,  274 

Schweighofer  Sohne.  I.  M.,  222 

Seaverns,   George   W.,   96,    127 

Seidl,  Anton,  275,  309 

Sembrich,  285 

SeuflTert,   221 

Seyffarth,   Hermann,   428 

Sevtre,  133 

Sliaw,  F.  S.,  345 

Shoninger,    Bernhard,    316 

Shoninger,    S.    B.,    317 

Shudi,    Burkat,    188,    214,   243,   244 

Sievers,  G.   F.,   167,  216,  424 

Silbermann.   Andreas,   217 

Silbermann,  Gottfried.  44,  45,  58,  86,  167, 

217,   386 
Silbermann,  Johann  Daniel.  217 
Silbermann.  Johann  Friedrich.  217 
Simplex  Piano  Player  Co..  334 
Simpson,    John    Boulton,    366 
Smith,    Barnes   &    Strohber    Co..    362 
Smith,  Chandler  W.,  Insert  410 
Smith,   Freeborn  G..  314.  315 
Smith  &  Houghton,  124 
Smith  &  Sons,   125 
Sohmer,  Hugo,  320 
Sohmer   &   Co.,   320 
Southwell,  William.  54 
Spillane,  Diniel,  425 
Spinnetti,  Giovanni,  33,  33,  216 
Squire   &   Son.   B..   248 
Standard  Pneumatic  Action  Co.,  334 
Starck  Co.,  P.  A..  362 
Starr,   Benjamin.   348.   349 
Starr,  James   S.,   348,   349 
Starr  Piano  Co.,  349 
Steck,  George,  175,  182,  233,  318.  319 
Steck   &   Co.,   George,   332 
Steger,  John  V.,   361,   362 
Stein,  Friedrich,  218 
Stein,  Johann  Andreas,  47,  48,  58,  59.  84. 

87,  168,  218.  387 
Stein-Streicher,  Nannette,  59,  168.  218.  219,. 

388,  400 
Steinert,  Morris,  188,  Insert  426,  427.  429, 

438 
Steinert  &  Sons,  M.,  427 
Steinwav,  Albert,  311,  312 
Steinwav,  Charles,  301-304,  306,  313 


INDEX 


477 


SU'inwav.  riiarlos  IT.,  312 

Sti'iinva'v.    C.    F.    Theoilore.    301,    303 

30S*  31-2.  313 
Stcinway.    Frederick    T.,    312 
Stciiiway,    Henry,   300 
Steinway.  Henry  Kngelhardt,  214,  301, 

308",   313,   3!)S 
Stcinway.  Henry,  Jr.,  301,  304,  307,  31 
Steinway,   Theodore   ("assel)eer,   312 
Steinway,  'I'iieodore  V.,  312 
Steinway.   William,   174,   170,  280,  300 
Steinwav  &  Sons.  51,  02,  03.  71-73.  S.) 

102-lO.J.  174.  ISO.  Insert  100.  190. 

313 
Steinwej;-.  Henry  Knj;vlliardt,  214,  221, 

200.  30(» 
Sterling.    (  iiarles   A..   370,    371 
Sterling  Co..  'llie,  370 
Stewart,   .lames,   270 
Stewart    &    Chiekering,    270 
Stieff.  Charles  .M..  201,  202 
Stietr.  Frederick  P.,  200,  291 
Still    Brothers,   58 
Str.cker.  S5 

Stodart.  Robert.  58,  59,  69.  277 
Story.   Kdward  H.,  370,  377 
Story,   lianiplon    L..   375,   370,   378 
Story  &  Canij),  370 
Story  &   Clark.  37(>.  378 
Story  &   Clark  Organ  Co.,  370,  378 
Story  &    Powers.   375 
Straidx"  Piano  Co.,  302 
Streicher.  Kniil,  210 
Streieher.  .lohann  Baptist,  80,  87,  108. 

219 
Streicher,  Johann  Andreas.  64,  218 
Streicher   &    Solin,   J.   B..   219 
Streicher  it  Solin.  Nannelte,  218 
Strieli  &   Zeidler.  336 
Strohmenger  &   Son,  248 
Stiiltz   &    Bailor,   336 
Stuyvftsant   Piano  Co.,  332 
Syverson,   Ole,   381 

Toelnioli    Piano   Co.,   332 
Thil)0)i\ille-Lamy.  405 
'ihoiiias.  'Iheodorc.   175.  309 
'Ihonis.    William    M..   410 
Tliiinner.    I'erdinand. 
Trasiinti.  Alessandro 
Trayser.   34S,   349 
Tremaine,  Charles  M..  277 
Tremaine.  Ilarrv  B..  328-333 
Tremaine.  William  B..  327.  328.  3.33 
Tsclmdi.  i?iirekhar(lt.  173.  214.  243 
Tvndall.  .lohn,  305,  425 


300, 


302, 


-313 

,  89. 
301- 

232, 


218, 


232 

188.  In.sort  190 


Van  Yor.x,   100 

^'aucanson,    133 

Vits,  Kmile,  2ti3 

Voealian   Organ   Com])anv,   332 

Vogel  &  Sohn,  1.  G.,  231  ' 

A'ose,  James  Whiting,  293-295 

\'ose,  Willard  A.,  294 

\'ose  &  Sons,  294, 

Vose  &  Sons  Piano  Co.,  294 

Votev,  Edwin    S.,   149,    150,    152, 

371.  372 
\'otey    Oigm    Company,    332 


330,   331, 


Universal  .Music  Co..  332 

Valley  (Jem   Piano  Co.,   340 
VanderstuckeJi.  Frank,  274 
\mi   Ihfte.   B..   203 


Wachtl   &  Bleyer,   00 

\\'agener,  Charles  11.,  370 

Wagner,    Richard,    224.    305,    318 

Washburn  &  Moen,  124,  125 

Watson,  Henry  C,  415,  416,  420 

W'eber,  Albert,  65,  175,  179,  182,  286,  296- 

299 
Weber  Piano  Co.,  100.  Insert  100,  299.  320- 

331,  332 
Webster  &    Ilorsfall,    12:;.    124 
Weickert.  August  .Moritz.  237.  239.  240 
\\'eiekert,   Carl    .Morit/.    121.   241 
Weickert,    Fritz,    241 
Weickert,   1.   D.,  239,  241 
Weickert,    Ma.x,    241 
Weickert,  Otto,  241 
Weidig.  C,  236 
Weil,  .Milton,  417 
^\'ek•ker  von  Gonter-liauscu,  423 
A\"elin,    Peter.    155,    157 
Wellington   Piano  Case  Co..  321 
Wells,  Charles  .\very.  417 
Wonzel,    100 

Werlein,   Philip,   Insert   410 
Wessell,  Arthur.   381 
We-ssell,  Fernando,  381 
Wessell,  Nickel  &  Gross,  90,   96,   370 
Wessell,  Otto,  379-381 
Western  Cottage  Orgui  Co..  343 
Wheeloek    Piano   Co..   332 
Wheeloek.  William  E..  325.  326.  331.  410 
Wheeloek  &  Co..  William   E..  325 
White   and    I'arker,    143-148,    152 
White,    Edward    11.,   308.   309 
White.   Frank  C..  368.  370 
Wiiite.    Henry    Kirk.   307.   368.   370 
White,    Howard,    308-37(t 
White,  James    II.,   30S-;;70 
White,  William   B..  425 
Whitehead    Brothers.    121 
Whitnev.    Calvin.    374.    375 
Whitn«-y,  C.  J.,  371 
Whitnev   Organ    Co..    .571 
WhitneV,  W.   C.,  375 
Wilcox.'    H.    C..    308 
Wilox  &  White  Organ  Co.,  138,  144.   147. 

15lt.  334.  368 
Wilhelmi.  274 
\\  ilke.  99 


478 


INDEX 


Wing,  Frank  L.,  336 
Wing,  Luman  B.,  336 
Wing,  R.  Delano,  336 
Wing  &  Son,  336 
Winter  &  Co.,  336 
Wissner,  336 

Witton,   Witton   &   Co.,   248 
\\'olff.  Auguste,  257 
Wolfinger,  F.  R.,  343 
Wolfinger   Organ    Co..   343 
Woodford,   I.   B..  282 
Wornum,  Robert,  54.  92,  93 
Wulsin,  Clarence,  340 
Wulsin,   Liicien.   345-348 
Wurlitzer  Co.,  Rudolph,  355 


Wurlitzer,  Farney,  355 
Wurlitzer,  Howard,  354 
Wurlitzer  Mfg.  Co..  Rudolph,  355 
Wurlitzer,  Rudolph.  354 
Wurlitzer,  Rudolph  H.,  355 

Yamaba,  Torakusu,  265,  266 
Young,    F.    L.,    158,    161 

Zarlino.  Giuseppe,  77 

Zeitter  &  Winkelmann.  232 

Ziegler,  Doretta  Steinway-,  312 

Ziegler,  Henry,  312 

Zumpe,  Johannes,  46-48,  87,  168,  172 


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